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+*** START OF THE PROJECT GUTENBERG EBOOK 13477 ***
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 13477-h.htm or 13477-h.zip:
+      (https://www.gutenberg.org/dirs/1/3/4/7/13477/13477-h/13477-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/1/3/4/7/13477/13477-h.zip)
+
+
+
+
+
+WATTS (1817-1904)
+
+by
+
+W. LOFTUS HARE
+
+Illustrated with Eight Reproductions in Colour
+
+
+
+
+
+
+
+[Illustration: PLATE I.--DEATH CROWNING INNOCENCE
+
+(Frontispiece)
+
+     A little child lying in the lap of the winged figure of Death.
+     Death, ever to Watts a silent angel of pity, "takes charge of
+     Innocence, placing it beyond the reach of evil." It was first
+     exhibited at the Winter Exhibition of the New Gallery, 1896,
+     and was given to the nation in 1897. It is now at the Tate
+     Gallery.]
+
+
+
+
+MASTERPIECES IN COLOUR
+
+EDITED BY T. LEMAN HARE
+
+"MASTERPIECES IN COLOUR" SERIES
+
+ARTIST.              AUTHOR.
+VELAZQUEZ.           S.L. BENSUSAN.
+REYNOLDS.            S.L. BENSUSAN.
+TURNER.              C. LEWIS HIND.
+ROMNEY.              C. LEWIS HIND.
+GREUZE.              ALYS EYRE MACKLIN.
+BOTTICELLI.          HENRY B. BINNS.
+ROSSETTI.            LUCIEN PISSARRO.
+BELLINI.             GEORGE HAY.
+FRA ANGELICO.        JAMES MASON.
+REMBRANDT.           JOSEF ISRAELS.
+LEIGHTON.            A. LYS BALDRY.
+RAPHAEL.             PAUL G. KONODY.
+HOLMAN HUNT.         MARY E. COLERIDGE.
+TITIAN.              S.L. BENSUSAN.
+MILLAIS.             A. LYS BALDRY.
+CARLO DOLCI.         GEORGE HAY.
+GAINSBOROUGH.        MAX ROTHSCHILD.
+TINTORETTO.          S.L. BENSUSAN.
+LUINI.               JAMES MASON.
+FRANZ HALS.          EDGCUMBE STALEY.
+VAN DYCK.            PERCY M. TURNER.
+LEONARDO DA VINCI.   M.W. BROCKWELL.
+RUBENS.              S.L. BENSUSAN.
+WHISTLER.            T. MARTIN WOOD.
+HOLBEIN.             S.L. BENSUSAN.
+BURNE-JONES.         A. LYS BALDRY.
+VIGÉE LE BRUN.       C. HALDANE MACFALL.
+CHARDIN.             PAUL G. KONODY.
+FRAGONARD.           C. HALDANE MACFALL.
+MEMLINC.             W.H.J. & J.C. WEALE.
+CONSTABLE.           C. LEWIS HIND.
+RAEBURN.             JAMES L. CAW.
+JOHN S. SARGENT.     T. MARTIN WOOD.
+LAWRENCE.            S.L. BENSUSAN.
+DÃœRER.               H.E.A. FURST.
+MILLET.              PERCY M. TURNER.
+WATTEAU.             C. LEWIS HIND.
+HOGARTH.             C. LEWIS HIND.
+MURILLO.             S.L. BENSUSAN.
+WATTS.               W. LOFTUS HARE.
+INGRES.              A.J. FINBERG.
+
+Others in Preparation.
+
+The Publishers have to acknowledge the permission of Mrs.
+Watts to reproduce the series of paintings here included.
+
+
+
+[Illustration: IN SEMPITERNUM.]
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+I. Death crowning Innocence      Frontispiece
+    At the Tate Gallery
+
+II. The Minotaur
+    At the Tate Gallery
+
+III. Hope
+    At the Tate Gallery
+
+IV. Thomas Carlyle
+    At the South Kensington Museum
+
+V. Love and Life
+    At the Tate Gallery
+
+VI. Love Triumphant
+    At the Tate Gallery
+
+VII. The Good Samaritan
+    At the Manchester Art Gallery
+
+VIII. Prayer
+    At the Manchester Art Gallery
+
+
+[Illustration]
+
+
+
+
+I
+
+A BIOGRAPHICAL OUTLINE
+
+
+In July of 1904 the eighty-seven mortal years of George Frederick Watts
+came to an end. He had outlived all the contemporaries and acquaintances
+of his youth; few, even among the now living, knew him in his middle
+age; while to those of the present generation, who knew little of the
+man though much of his work, he appeared as members of the Ionides
+family, thus inaugurating the series of private and public portraits for
+which he became so famous. The Watts of our day, however, the teacher
+first and the painter afterwards, had not yet come on the scene. His
+first aspiration towards monumental painting began in the year 1843,
+when in a competition for the decoration of the Houses of Parliament he
+gained a prize of £300 for his cartoon of "Caractacus led Captive
+through the Streets of Rome." At this time, when history was claiming
+pictorial art as her servant and expositor, young Watts carried off the
+prize against the whole of his competitors. This company included the
+well-known historical painter Haydon, who, from a sense of the
+impossibility of battling against his financial difficulties, and from
+the neglect, real or fancied, of the leading politicians, destroyed
+himself by his own hand.
+
+The £300 took the successful competitor to Italy, where for four years
+he remained as a guest of Lord Holland. Glimpses of the Italy he gazed
+upon and loved are preserved for us in a landscape of the hillside town
+of Fiesole with blue sky and clouds, another of a castellated villa
+and mountains near Florence, and a third of the "Carrara Mountains
+near Pisa"; while of his portraiture of that day, "Lady Holland" and
+"Lady Dorothy Nevill" are relics of the Italian visit.
+
+[Illustration: PLATE II.--THE MINOTAUR
+
+     In this terrible figure, half man, half bull, gazing over the
+     sea from the battlement of a hill tower, we see the artist's
+     representation of the greed and lust associated with modern
+     civilisations. The picture was exhibited at the Winter
+     Exhibition of the New Gallery, 1896, and formed part of the
+     Watts Gift in 1897. It hangs in the Watts Room at the Tate
+     Gallery.]
+
+Italy, and particularly Florence, was perpetual fascination and
+inspiration to Watts. There he imbibed the influences of Orcagna and
+Titian--influences, indeed, which were clearly represented in the next
+monumental painting which he attempted. It came about that Lord Holland
+persuaded his guest to enter a fresh competition for the decoration of
+the Parliament Houses, and Watts carried off the prize with his "Alfred
+inciting the Saxons to resist the landing of the Danes." The colour and
+movement of the great Italian masters, conspicuously absent from the
+"Caractacus" cartoon, were to be seen in this new effort, where, as has
+been said, the English king stands like a Raphaelesque archangel in the
+midst of the design.
+
+In 1848 Watts had attained, one might almost say, the position of
+official historical painter to the State, a post coveted by the
+unfortunate Haydon; and he received a commission to paint a fresco of
+"St. George overcomes the Dragon," which was not completed till 1853.
+In this year he contributed as an appendix to the Diary of Haydon--in
+itself an exciting document, showing how wretched the life of an
+official painter then might be--a note telling of the state of
+historical and monumental painting in the 'forties, and of his own
+attitude towards it; a few of his own words, written before the days of
+the "poster," may be usefully quoted here:
+
+     ON THE PUBLIC EMPLOYMENT OF ARTISTS
+
+     Patriots and statesmen alike forget that the time will come
+     when the want of great art in England will produce a gap sadly
+     defacing the beauty of the whole national structure....
+
+     Working, for example, as an historian to record England's
+     battles, Haydon would, no doubt, have produced a series of
+     mighty and instructive pictures....
+
+     Why should not the Government of a mighty country undertake
+     the decoration of all the public buildings, such as Town
+     Halls, National Schools, and even Railway Stations....
+
+     ... Or considering the walls as slates whereon the school-boy
+     writes his figures, the great productions of other times might
+     be reproduced, if but to be rubbed out when fine originals
+     could be procured; for the expense would very little exceed
+     that of whitewashing....
+
+     If, for example, on some convenient wall the whole line of
+     British sovereigns were painted--were monumental effigies
+     well and correctly drawn, with date, length of reign,
+     remarkable events written underneath, these worthy objects
+     would be attained--intellectual exercise, decoration of space,
+     and instruction to the public.
+
+The year 1848 was a critical time for Watts; his first allegorical
+picture, "Time and Oblivion," was painted, and, in the year following,
+"Life's Illusions" appeared on the walls of the famous Academy which
+contained the first works of the Pre-Raphaelite Brotherhood. Watts was
+not of the party, though he might have been had he desired; he preferred
+independence.
+
+Watts' personal life was at this time pervaded by the influence of Lord
+and Lady Holland, who, having returned from Florence to London, had him
+as a constant visitor to Holland House. In 1850 he went to live at The
+Dower House, an old building in the fields of Kensington. There, as a
+guest of the Prinsep family, he set up as a portrait painter. His host
+and family connections were some of the first to sit for him; and he
+soon gained fame in this class of work.
+
+There was a temporary interruption in 1856, when a journey to the East,
+in company with Sir Charles Newton, for the purpose of opening the
+buried Temple of Mausolus at Halicarnassus, gave Watts further insight
+into the old Greek world; and, one cannot but think, stimulated his
+efforts, later so successful, in depicting for us so many incidents in
+classical lore. We have, in a view of a mountainous coast called "Asia
+Minor," and another, "The Isle of Cos," two charming pictorial records
+of this important expedition. The next six years of the artist's life
+were spent as a portrait painter; not, indeed, if one may say so, as a
+professional who would paint any one's portrait, but as a friend, who
+loved to devote himself to his friends.
+
+In pursuance of his principles touching monumental work, Watts engaged
+himself over a period of five years on the greatest and the last of his
+civic paintings--namely, the "Justice; a Hemicycle of Lawgivers," to
+which I shall later refer.
+
+Watts was a man who seems to have enjoyed in a singular degree the great
+privilege of friendship, which while it has its side of attachment, has
+also its side of detachment. Even in his youthful days he never "settled
+down," but was a visitor and guest rather than an attached scholar and
+student at the schools and studies. It is told of him that when just
+about to leave Florence, after a short visit, he casually presented a
+letter of introduction to Lord Holland, which immediately led to a four
+years' stay there, and this friendship lasted for many years after the
+ambassador's return to England. Other groups of friends, represented by
+the Ionides, the Prinseps, the Seniors, and the Russell Barringtons,
+seemed to have possessed him as their special treasure, in whose
+friendship he passed a great part of his life. Two great men, the
+titular chiefs of poetry and painting, were much impressed by him, and
+drew from him great admiration--Tennyson and Leighton; from the latter
+he learned much; in the sphere of music, of which Watts was passionately
+fond, there stands out Joachim the violinist.
+
+Watts used to recall, as the happiest time in his life, his youthful
+days as a choral singer; and he always regretted that he had not become
+a musician. Besides being fond of singing he declared that he constantly
+heard (or felt) mystic music--symphonies, songs, and chorales. Only
+once did he receive a _vision_ of a picture--idea, composition and
+colours--that was "Time, Death, and Judgment." Music, after all, is
+nearer to the soul of the intuitive man than any of the arts, and Watts
+felt this deeply. He also had considerable dramatic talent.
+
+In 1864 some friends found for Watts a bride in the person of Miss Ellen
+Terry. The painter and the youthful actress were married in Kensington
+in February of that year, and Watts took over Little Holland House. The
+marriage, however, was irksome, both to the middle-aged painter and the
+vivacious child of sixteen, whose words, taken from her autobiography,
+are the best comment we possess on this incident:
+
+     "Many inaccurate stories have been told of my brief married
+     life, and I have never contradicted them--they were so
+     manifestly absurd. Those who can imagine the surroundings into
+     which I, a raw girl, undeveloped in all except my training as
+     an actress, was thrown, can imagine the situation.... I
+     wondered at the new life and worshipped it because of its
+     beauty. When it suddenly came to an end I was thunderstruck;
+     and refused at first to consent to the separation which was
+     arranged for me in much the same way as my marriage had
+     been.... There were no vulgar accusations on either side, and
+     the words I read in the deed of separation, 'incompatibility
+     of temper,' more than covered the ground. Truer still would
+     have been 'incompatibility of _occupation_,' and the
+     interference of well-meaning friends.
+
+     "'The marriage was not a happy one,' they will probably say
+     after my death, and I forestall them by saying that it was in
+     many ways very happy indeed. What bitterness there was effaced
+     itself in a very remarkable way." (_The Story of My Life_,
+     1908.)
+
+In 1867, at the age of fifty, without his application or knowledge,
+Watts was made an Associate, and in the following year a full Member, of
+the Royal Academy. Younger men had preceded him in this honour, but
+doubtless Watts' modesty and independence secured for him a certain
+amount of official neglect. The old studio in Melbury Road, Kensington,
+was pulled down in 1868, and a new house was built suited to the painter
+who had chosen for himself a hermit life. The house was built in such a
+way as would avoid the possibility of entertaining guests, and was
+entirely dedicated to work. Watts continued his series of official
+portraits, and many of the most beautiful mythical paintings followed
+this change. Five years later, Watts was found at Freshwater in the Isle
+of Wight, and in 1876 he secured what he had so long needed, the
+sympathetic help and co-operation in his personal and artistic aims, in
+Mr. and Mrs. Russell Barrington, his neighbours.
+
+In 1877 Watts decided, in conformity with his views on patriotic art, to
+give his pictures to the nation, and there followed shortly after, in
+1881 and 1882, exhibitions of his works in Whitechapel and the Grosvenor
+Gallery. A leaflet entitled "What should a picture say?" issued with the
+approval of Watts, in connection with the Whitechapel Exhibition, has a
+characteristic answer to the question put to him.
+
+     "Roughly speaking, a picture must be regarded in the same
+     light as written words. It must speak to the beholder and tell
+     him something.... If a picture is a representation only, then
+     regard it from that point of view only. If it treats of a
+     historical event, consider whether it fairly tells its tale.
+     Then there is another class of picture, that whose purpose is
+     to convey suggestion and idea. You are not to look at that
+     picture as an actual representation of facts, for it comes
+     under the same category of dream visions, aspirations, and we
+     have nothing very distinct except the sentiment. If the
+     painting is bad--the writing, the language of art, it is a
+     pity. The picture is then not so good as it should be, but the
+     thought is there, and the thought is what the artist wanted to
+     express, and it is or should be impressed on the spectator."
+
+In 1886 his pictures were exhibited in New York, where they created a
+great sensation; but incidents connected with the exhibition, and
+criticisms upon it, caused the artist much nervous distress.
+
+[Illustration: PLATE III.--HOPE
+
+(At the Tate Gallery)
+
+     At the first glance it is rather strange that such a picture
+     should bear such a title, but the imagery is perfectly true.
+     The heavens are illuminated by a solitary star, and Hope bends
+     her ear to catch the music from the last remaining string of
+     her almost shattered lyre. The picture was painted in 1885 and
+     given to the nation in 1897. A very fine duplicate is in the
+     possession of Mrs. Rushton.]
+
+It was a peculiar difficulty of his nature which led him to insist, on
+the occasions of the London and provincial exhibitions of his pictures,
+that the borrowers were to make all arrangements with his frame-maker,
+that he should not be called upon to act in any way, and that no
+personal reference should be introduced. Watts always considered himself
+a private person; he disliked public functions and fled from them if
+there were any attempt to draw attention to him. His habits of work were
+consistent with these unusual traits. At sunrise he was at his easel.
+During the hot months of summer he was hard at work in his London
+studio, leaving for the country only for a few weeks during foggy
+weather.
+
+At the age of sixty-nine Watts married Miss Mary Fraser-Tytler, with
+whom he journeyed to Egypt, painting there a study of the "Sphinx," one
+of the cleverest of his landscapes. Three years after his return, he
+settled at Limnerslease, Compton, in Surrey, where he took great
+interest in the attempt to revive industrial art among the rural
+population.
+
+Twice, in 1885 and 1894, the artist refused, for private reasons, the
+baronetcy that other artists had accepted. He lived henceforth and died
+the untitled patriot and artist, George Frederick Watts.
+
+
+
+
+II
+
+THE MAN AND THE MESSENGER
+
+
+Having given in the preceding pages the briefest possible outline of the
+life of Watts as a man amongst men, we are now able to come to closer
+quarters. He was essentially a messenger--a teacher, delivering to the
+world, in such a manner that his genius and temperament made possible,
+ideas which had found their place in his mind. He would have been the
+first to admit that without these ideas he would be less than nothing.
+
+If it were possible to bring together all the external acts of the
+painter's life, his journeyings to and fro, his making and his losing
+friends, we should have insufficient data to enable us to understand
+Watts' message; his great ambitions, his constant failures, his intimate
+experiences, his reflections and determinations--known to none but
+himself--surely these, the internal life of Watts, are the real sources
+of his message? True, he was in the midst of the nineteenth century,
+breathing its atmosphere, familiar with the ideals of its great men,
+doubting, questioning, and hoping with the rest. To him, as to many a
+contemporary stoic, the world was in a certain sense an alien ground,
+and mortal life was to be stoically endured and made the best of. It is
+impossible to believe, however, that this inspiring and prophetic
+painter reproduced and handed on merely that which his time and society
+gave him. His day and his associates truly gave him much; the past and
+his heredity made their contributions; but we must believe that the
+purest gold was fired in the crucible of his inner experience, his joys
+and his sufferings. In him was accomplished that great discovery which
+the philosophers have called Pessimism; he not only saw in other men (as
+depicted in his memorable canvas of 1849), but he experienced in himself
+the transitory life's illusions. To Watts, the serious man of fifty
+years, Love and Death, Faith and Hope, Aspiration, Suffering, and
+Remorse, were not, as to the eighteenth-century rhymester, merely Greek
+ladies draped in flowing raiment; to him they were realities, intensely
+focussed in himself. Watts was giving of himself, of his knowledge and
+observation of what Love is and does, and how Death appears so
+variously; and who but a man who knew the melancholy of despair could
+paint that picture "Hope"?
+
+Immediately after the central crisis of his personal life appeared the
+canvas entitled "Fata Morgana," illustrative of a knight in vain pursuit
+of a phantom maiden; and before long there was from his brush the
+pictured story of a lost love, "Orpheus and Eurydice," one of the
+saddest of all myths, but, one feels, no old myth to him.
+
+By a more careful analysis of the artist's work we hope to learn the
+teaching Watts set himself to give, and to ascertain the means that he
+adopted; but one point needs to be made clear at this stage, namely,
+that although Watts was a great teacher, yet he was not a revolutionary.
+The ideals he held up were not new or strange, but old, well-tried, one
+might almost say conventional. They represent the ideals which, in the
+friction and turmoil of ages, have emerged as definite, clear, final.
+They are not disputed or dubious notions, but accepted truisms forgotten
+and neglected, waiting for the day when men shall live by them.
+
+Furthermore, Watts was not in any sense a mystic--neither personally or
+as an artist. "The Dweller in the Innermost" is not the transcendental
+self known to a few rare souls, but is merely conscience, known to all.
+The biblical paintings have no secret meaning assigned to them. The
+inhabitants of Eden, the hero of the Deluge, the Hebrew patriarchs,
+Samson and Satan--all these are the familiar figures of the
+evangelical's Bible. "Eve Repentant" is the woman Eve, the mother of the
+race; "Jacob and Esau" are the brothers come to reconciliation; "Jonah"
+is the prophet denouncing the Nineveh of his day and the Babylon of
+this. The teaching--and there is teaching in every one of them--is plain
+and ethical. So also, with the Greek myths; they teach plainly--they
+hold no esoteric interpretations. Watts is no Neo-Platonist weaving
+mystical doctrines from the ancient hero tales; he is rather a stoic, a
+moralist, a teacher of earthly things.
+
+But we must be careful to guard against the impression of Watts as a
+lofty philosopher consciously issuing proclamations by means of his art.
+Really he was not aware of being a philosopher at all; he was simply an
+artist, an exquisitely delicate and sensitive medium, who, when once
+before his canvas, suddenly filled with his idea, was compelled to say
+his word. If there be any synthesis about his finished work--and no one
+can deny this--it was not because Watts gave days and nights and years
+to "thinking things out." His paintings are, as he used to call them,
+"anthems," brought forth by the intuitive man, the musician. This was
+the fundamental Watts. Whatever unity there be, is due rather to unity
+of inspiration than to strength or definiteness of character and
+accomplishment, and this was sometimes referred to by Watts as a golden
+thread passing through his life--a thread of good intention--which he
+felt would guide him through the labyrinth of distractions, mistakes,
+irritations, ill health, and failures.
+
+One of the striking incidents in the life of Watts was his offer to
+decorate Euston Railway Station with frescoes entitled "The Progress of
+Cosmos." "Chaos" we have in the Tate Gallery, full of suggestiveness and
+interest. We see a deep blue sky above the distant mountains, gloriously
+calm and everlasting; in the middle distance to the left is a nebulous
+haze of light, while in the foreground the rocks are bursting open and
+the flames rush through. Figures of men, possessed by the energy and
+agony of creation, are seen wrestling with the elements of fire and
+earth. One of these figures, having done his work, floats away from the
+glow of the fire across the transparent water, while others of his
+creative family have quite passed the struggling stage of movement and
+are reclining permanent and gigantic to the right of the picture. The
+same idea is repeated in the chain of draped women who are emerging from
+the watery deep; at first they are swept along in isolation, then they
+fly in closer company, next they dance and finally walk in orderly
+procession. But Chaos, for all this, is a unity; of all material forms
+it is the most ancient form; Cosmos however is the long-drawn tale
+beginning with the day when "The Spirit of God brooded on the face of
+the waters." Cosmos might have been Watts' synthetic pictorial
+philosophy; Herbert Spencer with his pen, and he with his brush, as it
+were, should labour side by side. But this was not to be; the Directors
+of the North-Western Railway declined the artist's generous offer, and
+he had to get his "Cosmos" painted by degrees. On the whole, perhaps, we
+should be thankful that the railway company liberated Watts from this
+self-imposed task. We remember that Dante in his exile set out to write
+"Il Convivio," a Banquet of so many courses that one might tremble at
+the prospect of sitting down to it; the four treatises we have are
+interesting, though dry as dust; but if Dante had finished his Banquet,
+he might never have had time for his "Divine Comedy"; so perhaps, after
+all, we shall be well content to be without Watts' "Cosmos," remembering
+what we have gained thereby. Besides, the continuous and spontaneous
+self-revelation of an artist or a poet is sometimes truer than a rigid
+predetermined plan.
+
+[Illustration: PLATE IV.--THOMAS CARLYLE
+
+(At the South Kensington Museum)
+
+     This canvas was painted in 1868, and is the earlier of the two
+     portraits of the famous historian painted by Watts. It formed
+     part of the Foster Bequest. It is interesting to compare this
+     with the painting in the National Portrait Gallery.]
+
+A few words from the pen of the artist, appearing by way of preface to a
+book, "A Plain Handicraft," may here be quoted to indicate the strong
+views Watts took on the "Condition-of-England Question." His interest in
+art was not centred in painting, or sculpture, or himself, or his fellow
+artists. He believed in the sacred mission of art as applied to profane
+things. We see how closely he adheres to the point of view made so
+famous by Ruskin. Both Watts and Ruskin, one feels, belong rather to the
+days of Pericles, when everything was best in the state because the
+citizens gave themselves up to it and to each other. Writing of the
+necessity and utility of reviving Plain Handicrafts among the mass of
+the people, the painter of "Mammon" says:
+
+     "... When the object is to vitalise and develop faculties--the
+     especial inheritance of the human race, but strangely dormant
+     in our time among the largest section of the community--the
+     claim becomes one that cannot be ignored. Looking at the
+     subject from a point of view commanding a wide horizon, it
+     seems to be nothing less than a social demand, rising into a
+     religious duty, to make every endeavour in the direction of
+     supplying all possible compensating consolation for the
+     routine of daily work, become so mechanical and dreary. When
+     home is without charm, and country without attaching bonds,
+     the existence of a nation is rudely shaken; dull discontent
+     leading to sullen discontent, may readily become active
+     animosity. There will not be men interested in the maintenance
+     of law and order, who feel that law and order bring them no
+     perceptible formal advantage. In the race for wealth, it has
+     been forgotten that wealth alone can offer neither dignity nor
+     permanent safety; no dignity, if the man of the population is
+     degraded by dull toil and disgraceful competition; no safety,
+     if large numbers drag on a discontented existence, while the
+     more active and intelligent leave our shores.
+
+     "Whether or not our material wealth is to be increased or
+     diminished, it is certain that a more general well-being and
+     contentment must be striven for. A happy nation will be a
+     wealthy nation, wealthy in the best sense, in the assurance
+     that its children can be depended upon in case of need, wealth
+     above the fortune of war, and safety above the reach of
+     fortune. The rush of interest in the direction of what are
+     understood as worldly advantages, has trampled out the sense
+     of pleasure in the beautiful, and the need of its presence as
+     an element essential to the satisfaction of daily life, which
+     must have been unconsciously felt in ages less absorbed in
+     acquiring wealth for itself alone. In olden times our art
+     congresses would have been as needless as congresses to
+     impress on the general mind the advantages of money-making
+     would be in these." (_Plain Handicraft_, 1892.)
+
+In G.F. Watts, however, we have an instance of a man who, although he
+sees and is attracted by abstract principles of ethics, does not
+perceive the manner of their final application; he is not really
+scientific. It might be thought that the painter of "Greed and Toil,"
+"The Sempstress," "Mammon," "The Dweller of the Innermost," and "Love
+Triumphant," would be able to indicate, in that sphere of social
+activity called "practical politics," how these principles could find
+their expression and realisation. It is interesting, however, to know,
+and to have it authoritatively from his own pen, that Watts at least
+could not discern either the time or the application of these ethical
+principles to the affairs of the great world; for in 1901 there appeared
+from his hand a quasi-philosophical defence of the South African War,
+entitled "Our Race as Pioneers." He said:
+
+     "Inevitable social and political measures claim obedience,
+     which may be at variance with the spiritual and ethical
+     conscience; but there comes in the question of necessity,
+     apparent laws that contest with pure right and wrong; ... and
+     as we must live, nothing remains but commerce; and commerce
+     cannot be carried on without competition, and pushing the
+     limits of our interests. The result of competition can only be
+     conflict--war, unless some other outlet can be found. Commerce
+     will not supply this; its very activity, which is its health
+     and life, will produce the ambition, envy, and jarring
+     interests that will be fatal to peace.... The principle,
+     _Movement_, must have its outlet, its safety valve. This has
+     always been war.... The goddess Trade, the modern Pandora, has
+     in her box all the evils that afflict mankind.... How can
+     Commerce, as understood by the principles of trade, abolish
+     war?"
+
+     "The simple principles of right and wrong are easily
+     defined," and perhaps easily painted; "but the complexity of
+     human affairs and legitimate interests, conducing to the
+     activity demanded by the great law, _Movement_, makes some
+     elasticity necessary, even where there is the most honest
+     desire to be just."
+
+Thus, from his own words, we see how the painter transcends the
+politician; he is a stimulator, he gives hints, not instructions; he is
+commanding, imperative, but he does not show how, nor stay to devise
+ways and means. He even perceives, as he thinks, that though the
+commands of his pictures, "Faith," "Conscience," and "Love Triumphant,"
+be given, yet they cannot be obeyed fully because of "Evolution" and
+"Destiny," or as he calls it "Movement."
+
+To his intimate friends Watts, who was so introspective, often
+complained of "the duality of my nature." In the midst of affairs,
+financial or worldly, on questions of criticism, personal conduct and
+the like, the great artist was variable and uncertain. Though humble and
+self-deprecatory to an extreme degree, he made mistakes from which he
+could escape only with great difficulty; and he suffered much from
+depression and melancholy. This man, however, never appears in the
+pictures; when once in his studio, alone facing his canvas, Watts is
+final, absolute, an undisturbed and undistracted unity, conscious of
+that overwhelming "rightness" known to a Hebrew prophet. Whatever Time
+or Death may have in store for him or any man, there riding swiftly
+above them is Judgment the Absolute One; whatever theories may be spun
+from the perplexed mind of the magazine writer about Expansion and
+Necessity, there sits the terrible "Mammon" pilloried for all time.
+Indeed, he said his pictures were "for all time"; they were from the
+mind and hand of the seer, who, rising from his personality, transcended
+it; and as the personality of dual nature gradually fades away into the
+forgotten past, the Messenger emerges ever more and more clearly,
+leaving his graphic testimonies spread out upon a hundred canvases. It
+might be said as a final estimate that the value and sincerity of Watts'
+work becomes intensified a hundred-fold when we remember that its
+grandeur and dignity, its unity and its calm, was the work of a man who
+seldom, if ever, attained internal peace. Like some who speak wiser than
+they know, so Watts gave himself as an instrument to inspirations of
+which he was not able, through adverse circumstances, to make full use.
+Thus was the Man divided from the Messenger.
+
+[Illustration: PLATE V.--LOVE AND LIFE
+
+(At the Tate Gallery)
+
+     Love, strong in his immortal youth, leads Life, a slight
+     female figure, along the steep uphill path; with his broad
+     wings he shelters her, that the winds of heaven may not visit
+     her too roughly. Violets spring where Love has trod, and as
+     they ascend to the mountain top the air becomes more and more
+     golden. The implication is that, without the aid of Divine
+     Love, fragile Human Life could not have power to ascend the
+     steep path upward. First exhibited at the Grosvenor Gallery in
+     1885. Companion picture to "Love and Death," and "Love
+     Triumphant."]
+
+
+
+
+III
+
+A REVIEW OF WATTS' WORK
+
+
+Failing the "Progress of the Cosmos," we have from the mind and brush of
+Watts a great number of paintings, which may be grouped according to
+their character. Such divisions must not be regarded as rigid or
+official, for often enough a picture may belong to several groups at the
+same time. For the purpose of our survey, however, we divide them as
+follows:
+
+     1. Monumental or Historical Paintings and Frescoes.
+     2. Humanitarian or Social Paintings.
+     3. Portraits, private and public.
+     4. Biblical Paintings.
+     5. Mythical Paintings.
+     6. "Pessimistic" Paintings.
+     7. The Great Realities.
+     8. The Love Series.
+     9. The Death Series.
+     10. Landscapes.
+     11. Unclassified Paintings.
+     12. Paintings of Warriors.
+
+"Caractacus" was the first of the monumental paintings; by them Watts
+appears as a citizen and a patriot, whose insular enthusiasm extends
+backward to the time when the British chief Caractacus fought and was
+subdued by the Romans. He enters also into the spirit of the resistance
+offered to the Danes by King Alfred. George and the Dragon are included
+by him in the historical though mythical events of our race. Undoubtedly
+the most remarkable of Watts' monumental paintings is the fresco
+entitled "Justice; a Hemicycle of Lawgivers," painted for the Benchers'
+Hall in Lincoln's Inn. It is 45 x 40 feet. Here Watts, taking the
+conventional and theoretical attitude, identifies law-making with
+justice, and in his fresco we see thirty-three figures, representing
+Moses, Zoroaster, Pythagoras, Confucius, Lycurgus and his fellow-Greeks,
+Numa Pompilius and other Romans. Here figures also Justinian, the maker
+of the great Code; Mahomet, King Alfred, and even Attila the Hun. The
+painting represents the close of this phase of Watts' work; he received
+a gift of £500 and a gold cup in memory of its achievement. In England,
+at least, no one has ever attempted or accomplished anything in fresco
+of so great dimensions. Watts' monumental genius drove him to sculpture
+on the grand scale also. "Hugh Lupus" for the Duke of Westminster, and
+"Physical Energy," upon which he laboured at intervals during
+twenty-five years of his life, are his great triumphs in this direction.
+It is not the first time that an artist deficient in health and strength
+has made physical energy into a demigod. Men often, perhaps always,
+idealise what they have not. It was the wish of the sculptor to place a
+cast of "Physical Energy" on the grave of Cecil Rhodes on the Matoppo
+Hills in South Africa, indicating how Watts found it possible (by
+idealising what he wished to idealise), to include within the scope and
+patronage of his art, the activities, aims, and interests of modern
+Colonial Enterprise.
+
+_Humanitarian Paintings_.--The earliest of these, "The Wounded Heron,"
+asks our pity for the injured bird, and forbids us to join in the
+enthusiasm of the huntsman who hurries for his suffering prize. The same
+thought is expressed in the beautiful "Shuddering Angel," who is
+covering his face with his hands at the sight of the mangled plumage
+scattered on the altar of fashion. In the large canvases, "A Patient
+Life of Unrequited Toil," and "Midday Rest," we have paintings of
+horses, both of them designed to teach us consideration for the "friend
+of man." "The Sempstress" sings us Tom Hood's "Song of the Shirt."
+
+"The Good Samaritan" (see Plate VII.) properly belongs to this series.
+It was presented by the artist to the citizens of Manchester, as an
+expression of his admiration of Thomas Wright, the prison
+philanthropist, whose work was at that time (1852) creating a sensation
+in the north of England. If we compare this painting with other Biblical
+subjects executed at a later date, we see how much Watts' work has
+gained since then. The almost smooth texture and the dark shadows of the
+Manchester picture have given way to ruggedness and transparency. Still,
+"The Good Samaritan" is simple and excellent in purpose and composition.
+
+A little known painting entitled "Cruel Vengeance," seems to be a
+forecast of "Mammon"; a creature with human form and vulture's head
+presses under his hand a figure like the maiden whose head rests on
+Mammon's knee. In "Greed and Labour" the seer's eye pierces through the
+relations between the worker and his master; Labour is a fine strong
+figure loaded with the implements of his toil, with no feeling of
+subjection in his manly face; on the other hand, the miser creeping
+behind him, clutching the money bags, represents that Greed who, as
+Mammon, is seen sitting on his throne of death. "Mammon" is, however,
+the greatest of the three, containing in itself the ideas and forms of
+the other two. It is a terrible picture of the god to whom many bow the
+knee--"dedicated to his worshippers." His leaden face shows a
+consciousness of power, but not happiness arising from power; his dull
+eyes see nothing, though his mind's eye sees one thing clearly--the
+money bags on his lap. The two frail creatures of youth and maiden,
+"types of humanity" as Watts said, are crushed by his heavy limbs, while
+behind a fire burns continuously, perhaps also within his massive
+breast.
+
+_Portraits_.--In portraiture, as in other forms of art, Watts had
+distinct and peculiar views. He gradually came to the opinion, which he
+adopted as his first rule in portraiture, that it was his duty, not
+merely to copy the external features of the sitter, but to give what
+might be called an intellectual copy. He declared it to be possible and
+necessary for the sitter and painter to attain a unity of feeling and a
+sympathy, by which he (the painter) was inspired. Watts' earlier
+portraits, while being far from characterless, are not instances of the
+application of this principle. There is in them a slight tendency to
+eighteenth-century ideal portraiture, which so often took the sitter
+(and the observer too) back to times and attitudes, backgrounds and
+thunderstorms, that never were and never will be.
+
+Watts, however, was slightly influenced by the Pre-Raphaelite school. He
+might, had he wished, have been their portrait painter--and indeed, the
+picture of the comely Mrs. Hughes, a kind, motherly creature, with a
+background of distant fields, minutely painted, is quite on the lines of
+Pre-Raphaelite realism.
+
+[Illustration: PLATE VI.--LOVE TRIUMPHANT
+
+(At the Tate Gallery)
+
+     Time and Death having travelled together through the ages,
+     have run their course and are at length overthrown. Love alone
+     arises on immortal wings, triumphantly, with outspread arms to
+     the eternal skies.
+
+     Given to the nation in 1900.]
+
+Somewhat of the same character is the portrait of Mrs. Nassau Senior,
+who, with one knee on a sofa, is shown tending flowers, her rippling
+golden hair falling over her shoulders. A full-length portrait of Miss
+Mary Kirkpatrick Brunton, dated 1842, also belongs to the old style.
+Watts had a passion for human loveliness, and in his day some of the
+great beauties sat to him. The "Jersey Lily" (Mrs. Langtry) with her
+simple headdress and downcast eye, appeared at the Academy of 1879.
+"Miss Rachel Gurney" is a wonderful portrait of a flaming soul
+imprisoned in a graceful form and graceless dress. Miss Gurney is shown
+standing, turning slightly to the right with the head again turned over
+the right shoulder, while the whole effect of energy seems to be
+concentrated in the flashing eyes. Watts was able to interpret equally
+well personalities of a very different character, and perhaps the canvas
+representing Miss Edith Villiers is one of the most successful of his
+spiritual portraits. Miss Dorothy Dene, whose complexion Watts was one
+of the first to transfer to canvas, Miss Mary Anderson, and Miss Dorothy
+Maccallum, were all triumphantly depicted. He will be known, however, as
+the citizen portrait-painter of the nineteenth century, who preserved
+for us not merely the form, but the spirit of some of the greatest men
+of his day. Lord Tennyson sat three times. In 1859 the poet was shown in
+the prime of life, his hair and beard ruffled, his look determined. In
+1864 we had another canvas--"the moonlight portrait"; the face is
+that of Merlin, meditative, thoughtful. As you look at it the features
+stand out with great clearness, the distance of the laurels behind his
+head can be estimated almost precisely, while seen through them is the
+gleam of the moon upon the distant water. The 1890 portrait, in
+scholastic robes, with grizzled beard, and hair diminished, is Tennyson
+the mystic, and reminds us of his "Ancient Sage"--
+
+        "... for more than once when I
+    Sat all alone, revolving in myself
+    The word that is the symbol of myself,
+    The Mortal limit of the self was loosed
+    And passed into the Nameless, as a cloud
+    Melts into heaven."
+
+The portrait of John L. Motley, the American Minister to England in
+1869, and author of "The Rise of the Dutch Republic," is one of the most
+successful paintings of handsome men; Watts here depicts perfectly the
+"spiritual body" of strength, purity, and appeal; the eyes are deepest
+blue, and the hair the richest brown. In this case the artist has, as he
+was so prone, fallen into symbolism even in portraiture, for we can
+trace in the background a faint picture of an old-time fighting ship.
+
+Another classic portrait, so different to that by Whistler, is of Thomas
+Carlyle. The sage of Chelsea sits ruffled and untidy, with his hands
+resting on the head of a stick, and his features full of power. He seems
+protesting against the few hours' idleness, and anxious to get back to
+the strenuous life. The sitter was good enough to say that the portrait
+was of "a mad labourer"--not an unfair criticism of a very good
+portrait.
+
+_The Biblical Paintings_ are, as before said, in partial fulfilment of
+the frustrated scheme of "Cosmos." "Eve Repentant," in an attitude so
+typical of grief, is perhaps the most beautiful; it is one of a trilogy,
+the others being "She shall be called Woman," and "Eve Tempted." It is
+singular that in these three canvases the painter avoids the attempt to
+draw the face of the mother of the race. In the first the face is
+upturned, covered in shadow; in the second it is hid from view by the
+leaves of the forbidden tree, while in the third Eve turns her back and
+hides her weeping face with her arms. This habit of Watts to obscure the
+face is observed in "The Shuddering Angel," Judgment in "Time, Death,
+and Judgment," in "Love and Death," "Sic Transit," "Great Possessions,"
+and some others. Often indeed a picture speaks as much of what is not
+seen as of what is seen.
+
+Incidents from the Gospels are represented by "The Prodigal," where the
+outcast is seen crouching on the ground, his face fixed on vacuity,
+almost in the act of coming to himself. "For he had Great Possessions,"
+is, however, the greatest and simplest of all. There the young man who
+went away sorrowful with bowed head, scarcely knowing what he has lost,
+is used by Watts as one of his most powerful criticisms of modern life.
+Although the incident is a definite isolated one, yet the costume,
+figure, chain of office, and jewelled fingers, clutching and releasing,
+are of no time or land in particular.
+
+It is not a little remarkable that Watts, who had breathed so deeply the
+air of Italy, and had almost lived in company of Titian and Raphael,
+should never have attempted the figure of Christ or His apostles. This
+was, however, not without reason. His pictures were not only "for all
+time," but apart from time altogether. His only specific reference to
+Christianity is his beautiful canvas, "The Spirit of Christianity," in
+which he rebuked the Churches for their dissensions. A parental figure
+floats upon a cloud while four children nestle at her feet. The earth
+below is shrouded in darkness and gloom, despite the steeple tower
+raising its head above a distant village. The rebuke was immediately
+stimulated by the refusal of a certain church to employ Watts when the
+officials found he was not of their faith. In this picture Watts
+approached nearest to the Italian Madonnas both in form and colour.
+
+_The Mythical Paintings_ are, in the main, earlier than the Biblical
+series, but even here the same note of teaching is struck, and our human
+sympathies are drawn out towards the figure depicted. In one, "Echo"
+comes to find her lover transformed into a flower; in another, "Psyche,"
+through disobedience, has lost her love. She gazes regretfully at a
+feather fallen from Cupid's wing; it is a pink feather, such as might be
+taken from the plumage of the little Lord of Love who vainly opposes
+Death in his approach to the beloved one. In "Psyche," Watts has made
+the pale body expressive of abject loss; there is no physical effort,
+except in the well-expanded feet, and no other thought but lost love.
+
+The legend of "Diana and Endymion" was painted three times--"good,
+better, best." A shepherd loved the Moon, who in his sleep descends from
+heaven to embrace him. The canvas of 1903 must be regarded as the final
+success--the sleeping figure is more asleep, his vision more dreamlike
+and diaphanous. "Orpheus and Eurydice" (painted three times) is perhaps
+the greatest of his classical pictures. It is one of the few
+compositions that were considered by its author as "finished." Here
+again the lover through disobedience loses his love; the falling figure
+of Eurydice is one of the most beautiful and realistic of all the series
+of Watts' nudes, and the agony of loss, the energy of struggle, are
+magnificently drawn in the figure of Orpheus. Looking at the canvas, one
+recalls the lines of the old Platonic poet-philosopher Boëthius:
+
+    "At length the shadowy king,
+    His sorrows pitying,
+    'He hath prevailed!' cried;
+    'We give him back his bride!
+    To him she shall belong,
+    As guerdon of his song.
+    One sole condition yet
+    Upon the boon is set;
+    Let him not turn his eyes
+    To view his hard-won prize,
+    Till they securely pass
+    The gates of Hell.' Alas!
+    What law can lovers move?
+    A higher law is love!
+    For Orpheus--woe is me!--
+    On his Eurydice--
+    Day's threshold all but won--
+    Looked, lost, and was undone!"
+
+In "The Minotaur," that terrible creature, half man, half bull, crushing
+with his hideous claw the body of a bird, stands ever waiting to consume
+by his cruel lust the convoy of beauteous forms coming unseen and
+unwilling over the sea to him. It is an old myth, but Watts intended it
+for a modern message. The picture was painted by him in the heat of
+indignation in three hours.
+
+A small but very important group of paintings, which I call "The
+Pessimistic Series," begins with "Life's Illusions," painted in 1849.
+"It is," says Watts, "an allegorical design typifying the march of human
+life." Fair visions of Beauty, the abstract embodiments of divers forms
+of Hope and Ambition, hover high in the air above the gulf which stands
+as the goal of all men's lives. At their feet lie the shattered symbols
+of human greatness and power, and upon the narrow space of earth that
+overhangs the deep abyss are figured the brighter forms of illusions
+that endure through every changing fashion of the world. A knight in
+armour pricks on his horse in quick pursuit of the rainbow-tinted bubble
+of glory; on his right are two lovers; on his left an aged student still
+pores over his work by the last rays of the dying sun; while in the
+shadow of the group may be seen the form of a little child chasing a
+butterfly.
+
+This picture has the merit, along with "Fata Morgana," of combining the
+teaching element with one of the finest representations of woman's form
+that came from Watts' brush. He was one of those who vigorously defended
+the painting of the nude. These are some of his words:
+
+     "One of the great missions of art--the greatest indeed--is to
+     serve the same grand and noble end as poetry by holding in
+     check that natural and ever-increasing tendency to hypocrisy
+     which is consequent upon and constantly nurtured by
+     civilisation. My aim is now, and will be to the end, not so
+     much to paint pictures which are delightful to the eye, but
+     pictures which will go to the intelligence and the
+     imagination, and kindle there what is good and noble, and
+     which will appeal to the heart. And in doing this I am forced
+     to paint the nude."
+
+"Fata Morgana" is a picture of Fortune or Opportunity pursued and lost
+by an ardent horseman. It was painted twice, first in the Italian style,
+and again in what must be called Watts' own style--much the finer
+effort. This picture shows us what, in the artist's view, man in this
+mortal life desires, pursues, and mostly loses. Fortune has a lock of
+hair on her forehead by which alone she may be captured, and as she
+glides mockingly along, she leads her pursuers across rock, stream,
+dale, desert, and meadow typical of life. The pursuit of the elusive is
+a favourite theme with Watts, and is set forth by the picture
+"Mischief." Here a fine young man is battling for his liberty against an
+airy spirit representing Folly or Mischief. Humanity bends his neck
+beneath the enchanter's yoke--a wreath of flowers thrown round his
+neck--and is led an unwilling captive; as he follows the roses turn to
+briars about his muscular limbs, and at every step the tangle becomes
+denser, while one by one the arrows drop from his hand. The thought of
+"Life's Illusions" and "Fata Morgana" is again set forth in "Sic Transit
+Gloria Mundi," where we see the body of a king whose crown, and all that
+represents to him the glory of the world, is left at death. It is not,
+however, in Watts' conception essential glory that passes away, but the
+_Glory of the World_. Upon the dark curtain that hangs behind the
+shrouded figure are words that represent his final wisdom, "What I
+spent, I had; what I saved, I lost; what I gave, I have."
+
+[Illustration: PLATE VII.--THE GOOD SAMARITAN
+
+(At the Manchester Art Gallery)
+
+     This is an early picture, painted in the year 1852 and
+     presented to the city of Manchester by the artist in honour of
+     the prison philanthropist, a native of that city.]
+
+These I call "Pessimistic paintings," because they represent the true
+discovery ever waiting to be made by man, that the sum total of all that
+can be gained in man's external life--wealth, fame, strength, and
+power--that these inevitably pass from him. To know this, to see it
+clearly, to accept it, is the happiness of the pessimist, who
+thenceforward fixes his hope and bends his energies to the realisation
+of other and higher goods. In this he becomes an optimist, for this is
+the pursuit, as Watts never ceases to teach, in which man can and does
+attain his goal. Thus our prophet-painter, having seen and known and
+felt all this, having tested it in the personal and intimate life,
+brings to a triumphant close his great series, where positive rather
+than negative teaching is given.
+
+_The Great Realities_.--We have seen in "Chaos" primordial matter; we
+have now from Watts' brush the origin of things on the metaphysical
+side. In "The All-pervading," there sits the Spirit of the Universe,
+holding in her lap the globe of the systems, the representation of the
+last conclusions of philosophy. This mysterious picture is very low in
+tone, conforming to Watts' rule to make the colouring suit the subject.
+Here there is nothing hard or defined; the spirit of the universe is
+merely suggested or hinted at, his great wings enclose all. The
+elliptical form of this composition is seen again in "Death Crowning
+Innocence" and "The Dweller in the Innermost," and the same expressive
+indefiniteness and lowness of the colour tones. In the latter effort we
+have the figure of Conscience, winged, dumb-faced and pensive, seated
+within a glow of light. On her forehead is the shining star, and in her
+lap the arrows which pierce through all disguises, and a trumpet that
+proclaims peace to the world. Here, therefore, is the greatest reality
+from the psychological side. We have also cosmical paintings
+representing "Evolution," "Progress," the "Slumber of the Ages," and
+"Destiny," all of them asking and answering; not indeed finally and
+dogmatically, but as Watts desired that his pictures should do,
+stimulating in the observer both the asking and the answering faculty.
+In "Faith" we have a companion to "Hope." Wearied and saddened by
+persecutions, she washes her blood-stained feet in a running stream, and
+recognising the influence of Love in all the beauty of Nature, she feels
+that the sword is not the best argument, and takes it off. The colouring
+of this picture is rich and forcible, the maroon robe of the figure
+being one of Watts' favourite attempts.
+
+A satisfying picture of a little child emerging from the latest wave on
+the shore of humanity's ocean, asks the question, _Whence and Whither_.
+I reserve for "Hope" the final word (see Plate III.). If, as I said, the
+optimism which is spiritual and ideal springs from the pessimism which
+is material and actual, so too does Hope grow from the bosom of
+Despair. This the picture shows. Crouching on the sphere of the world
+sits the blindfold figure of a woman, bending her ear to catch the music
+of one only string preserved on her lyre. When everything has failed,
+there is Hope; and Hope looks, in Watts' teaching, for that which cannot
+fail, but which is ever triumphant, namely, Love.
+
+_The Love Series_.--According to Watts, Love steers the boat of
+humanity, who is seen in one of his canvases tossed about and almost
+shipwrecked. Love does not do this easily, but he does it. Love, as a
+winged youth, also guides Life, a fragile maiden, up the rocky
+steep--Life, that would else fail and fall. Violets spring where Love
+has trod, and as they ascend to the mountain top the air becomes more
+golden. This picture, "Love and Life" (see Plate V.) was painted four
+times. "Love and Death," painted three times, represents the
+irresistible figure of Death tenderly, yet firmly, entering a door where
+we know lies the beloved one. This is an eternal theme, suggested, I
+believe, by a temporal incident--the death of a young member of the
+Prinsep family. Love vainly pushes back the imperious figure; the
+protecting flowers are trodden down and the dove mourns; and with it all
+we feel that though Love fears Death, yet Death respects Love. Just as
+"Love and Death" are companion pictures and tell complementary truths,
+so "Time, Death, and Judgment" is related to "Love Triumphant" (see
+Plate VI.). In the one we see Time, represented by a mighty youth half
+clad in a red cloak, striding along with great vigour. His companion,
+whom he holds by the hand, is Death, the sad mother with weary, downcast
+eye and outspread lap ready to receive her load; but with neither of
+them is the final word, for Judgment, poised in the clouds, wields his
+fiery sword of eternal law and holds the balance before his hidden face.
+In "Love Triumphant" Love takes the place of, and transcends Judgment.
+Time and Death having travelled together through the ages, are in the
+end overthrown, and Love alone rises on immortal wings. Thus the stoical
+painter reaches his greatest height--tells his best truth.
+
+_The Death Series_.--As may be expected, Death has no terrors for the
+fundamental Watts. Never once does Death look with hollow eyes and
+sunken cheeks, or grasp with bony fingers at the living. In "Death
+Crowning Innocence," as a mother she puts her halo on the infant
+Innocence, whom she claims. Death holds a Court to which all must
+go--priest, soldier, king, cripple, beautiful woman, and young child.
+The lion must die, the civilisation be overthrown, wealth, fame, and
+pride must be let go--so Watts shows in his "Court of Death"; all come
+to the end of the book marked _Finis_. Death is calm and majestic, with
+angel wings, and overhead are the figures of Silence and Mystery,
+guarding, but partially revealing what is beyond the veil--sunrise and
+the star of hope; while even in the lap of Death nestles a new-born
+babe--the soul passing into new realms through the gates of Death.
+
+Again, Death is _the Messenger_ who comes, not to terrify, but as an
+ambassador to call the soul away from this alien land, quietly touching
+the waiting soul with the finger-tips. In the beautiful "Paolo and
+Francesca" the lovers are seen as Dante told of them; wafted along by
+the infernal wind; of them he spoke:
+
+          "... Bard! Willingly
+    I would address these two together coming,
+    Which seem so light before the wind."
+
+Francesca's reply to Dante is of Love and Death:
+
+    "Love, that in gentle heart is quickly learnt,
+    Entangled him by that fair form...;
+    Love, that denial takes from none beloved,
+    Caught me with pleasing him so passing well,
+    That as thou seest, he yet deserts me not.
+    Love brought us to one death."
+
+Watts has admirably caught the sweetness and sorrow of this situation in
+his beautiful picture, which, again, is one of the very few he
+considered finally "finished." It is almost a monochrome of blues and
+greys.
+
+In "Time and Oblivion," one of the earliest of the symbolical paintings,
+Time is again the stalwart man of imperishable youth, while Oblivion,
+another form of Death, spreads her mantle of darkness over all, claiming
+all.
+
+_Landscapes_.--Although Watts will ever be remembered for his
+allegorical, biblical, and portrait painting, yet he was by no means
+deficient in landscape art. Indeed, he carried into that branch of work
+his peculiar personality. Not only do his landscapes depict beautiful
+scenery in a fitting manner, joining atmosphere, sunshine, and colour,
+but they convey in an extraordinary degree the mood of Nature and of
+Man. "The Sphinx by Night" has an air of mystery about it that
+immediately impresses the spectator, and tells him something that cannot
+be communicated by words. The Italian and the Asiatic canvases by Watts,
+"Florence," "Fiesole," "Correna," "Cos," and "Asia Minor," all induce
+the feeling of repose and happiness, and the message that Nature sends
+to her devotees comes sweetly and calmly in "The Rainbow," where we look
+over an extensive valley from high ground, while heavy clouds and the
+rainbow adorn the upper air. In "The Cumulus" we "see skyward great
+cloud masses rolling, silently swelling and mixing." They recall perhaps
+the memories of the child, to whom the mountains of the air are a
+perpetual wonder. When in Savoy in 1888, Watts painted the Alps, again
+with a cloudy sky and a rocky foreground. In this the quietude of the
+scene penetrates the beholder. English landscape, to which all true
+hearts return, was successfully depicted, both in form and spirit, by
+Watts' "Landscape with Hayricks" (like the Brighton Downs), a quiet
+view from the summit of a hillside, on which are seen some hayricks. But
+perhaps the highest of them all is that very peaceful idyll named "All
+the air a solemn stillness holds." It was a view from the garden of
+Little Holland House. The time is sunset; a man and two horses are
+wending their way home. There are farm buildings on the left, and a
+thick wood in the background. In this one we feel how thoroughly Watts
+uses all forms as expressions of his invisible moods. In purely
+imaginative landscape, however, Watts struck his highest note. His
+"Deluge" canvases are wonderful attempts; in "The Dove that returned in
+the Evening," the bird is the only creature seen flying across the
+dreary waste of waters, placid but for three long low waves. On the
+horizon the artist has dimly suggested the ark of Noah. "Mount Ararat"
+is especially worthy of mention among the landscapes.
+
+[Illustration: PLATE VIII.--PRAYER
+
+(At the Manchester Art Gallery)
+
+     This is one of the most simple and beautiful of Watts' early
+     works. The young woman is kneeling at the table, book in hand,
+     her mind absorbed in thoughts of reverence. Painted in 1860.]
+
+Before Watts entered upon his series of great imaginative paintings he
+had used realism for didactic purposes. In those days his work was less
+rugged than in later times, and had a delicateness and refinement which
+is seen to perfection in some of his earlier portraits. A few of these
+efforts may be mentioned. "Study" is the bust of a girl, with long red
+hair, looking upwards; it represents a beautiful combination of
+spirituality and human affection. "The Rain it raineth every day" is a
+picture of ennui and utter weariness, beautifully and sympathetically
+expressed. The colouring is very brave. In "Prayer" (see Plate VIII.)
+the simplicity of the treatment may lead any one to pass it by as
+something slight and conventional, but it is perhaps one of the greatest
+of this type where simplicity and spirituality are combined. In
+"Choosing" Watts approached very near to the summit of simplicity and
+charm. A golden-haired girl is choosing a camellia blossom; but where
+all are so beautiful it is difficult for her to decide. Great interest
+in this picture lies in the fact that it was painted in 1864, and was
+drawn from Watts' young bride Miss Ellen Terry. One is almost tempted to
+find in this picture the germ of allegory which grew to such heights in
+the artist's later efforts.
+
+_The Warrior Series_.--Watts, like Ruskin and many other of the
+nineteenth-century philosophic artists, idealised warfare. His warriors
+are not clad in khaki; they do not crouch behind muddy earthworks. They
+are of the days before the shrapnel shell and Maxim gun; they wear
+bright steel armour, wield the sword and lance, and by preference they
+ride on horseback. Indeed, they are of no time or country, unless of the
+house of Arthur and the land of Camelot.
+
+We are thus able to understand the characteristic of Watts' warrior
+pictures. The first is "Caractacus," the British chief; though no
+Christian, he is the earliest of Watts' heroes. The second is the
+beautiful "Sir Galahad," whose strength was as the strength of ten,
+because his heart was pure. We see a knight standing bare-headed at the
+side of his white horse, gazing with rapt eyes on the vision of the Holy
+Grail, which in the gloom and solitude of the forest has suddenly dawned
+on his sight. The features of young Arthur Prinsep, with his bushy hair,
+who later became a general in the British army, can be detected in this
+wonderful and simple picture. Its composition is like a stained-glass
+window. It is of all Watts' perhaps the nearest to mysticism, and at the
+same time it is an appeal to the young to be like Sir Galahad. The
+original is in Eton College Chapel.
+
+In 1863 followed "The Eve of Peace," in which we see a warrior of middle
+age, much like Watts himself at that time, who has lost the passion for
+warfare, sheathing his sword, glad to have it all over. The peacock
+feather that is strewn on the floor of "The Court of Death," and lies by
+the bier in "Sic Transit," is fastened to the warrior's casque.
+"Aspiration," also taken from young Prinsep (1866), is a picture of a
+young man in the dawn of life's battle, who, wishing to be a
+standard-bearer, looks out across the plain. He sees into the great
+possibilities of human life, and the ardent spirit of life is sobered by
+the burden of responsibilities. "Watchman, what of the Night?" is
+another wonderful composition, representing a figure with long hair,
+clad in armour, looking out into the darkness of the night, with his
+hand grasping the hilt of the sword. The colour, low in tone, and the
+whole composition, indicate doubt and yet faith. Ellen Terry was the
+model for this painting.
+
+"The Condottiere" represents the fighting spirit of the Middle Ages.
+This soldier is, like the others, clad in armour, and is not likely to
+have a vision of the Holy Grail. His features represent the
+determination and vigour which were required of him in those ferocious
+days. "The Red Cross Knight accompanying Una" is a charming picture,
+representing an incident in Spenser's "Faëry Queen," but the palm must
+be given to "The Happy Warrior," who is depicted at the moment of death,
+his head falling back, and his helmet unloosed, catching a glimpse of
+some angelic face, who speaks to him in terms of comfort and of peace.
+This picture, of all the others, shows how Watts has insisted on
+carrying to the very highest point of idealism the terrible activities
+of warfare:
+
+    "This, the Happy Warrior, this is he,
+    That every man in arms should wish to be."
+
+He sent a copy, the original of which is in the Munich Gallery, to Lord
+Dufferin, whose son was killed in the South African War, and he declares
+that many bereaved mothers have thanked him for the inspiration and
+comfort it has brought to them.
+
+Watts' pictures are widely distributed; a roomful may be seen at the
+Tate Gallery, Millbank, S.W. Nearly all the portraits of public men are
+at the National Portrait Gallery, Trafalgar Square, London. There is a
+portrait of Thomas Carlyle in the South Kensington Museum, three or four
+pictures at the Manchester Corporation Gallery, and one at the Leicester
+Art Gallery. There are also several of Watts' best pictures in a gallery
+attached to his country house at Compton in Surrey; while his fresco
+"Justice" can be seen at the Benchers' Hall, Lincoln's Inn.
+
+Watts was conscious of the benefit he had received from the great men
+who had preceded him, and in his best moments so essentially humble,
+that in his last will and testament, and the letters of gift, he rises
+to the great height of artistic patriotism which always appeared to him
+in the light of a supreme duty.
+
+The former document has the following phrases: "I bequeath all my
+studies and works to any provincial gallery or galleries in Great
+Britain or Ireland, which my executors shall in their discretion select,
+and to be distributed between such galleries." This Will is dated
+November 1, 1899, and relates to such works as had not already been
+disposed of. His great gift to the nation was made in 1897, accompanied
+by a characteristic letter in which he says:
+
+     "You can have the pictures any time after next Sunday. I have
+     never regarded them as mine, but never expected they would be
+     placed anywhere until after my death, and only see now my
+     presumption and their defects and shrink from the consequences
+     of my temerity! I should certainly like to have them placed
+     together, but of course can make no conditions. One or two are
+     away, and I am a little uncertain about the sending of some
+     others; if you could spare a moment I should like to consult
+     you."
+
+A few weeks later, following a letter from the Keeper of the National
+Gallery, he writes as follows:
+
+     "I beg to thank you and through you the Trustees and Director
+     of the National Gallery for the flattering intention of
+     placing the tablet you speak of, but while returning grateful
+     thanks for the intention of doing me this honour I should like
+     it to be felt that I have in no way desired anything but the
+     recognition that my object in work, and the offering of it,
+     has only been the hope of spending my time and exercising my
+     experience in a worthy manner, leaving to time further
+     judgment. Most certainly I desire that my pictures should be
+     seen to advantage, and have a good effect as an encouragement
+     to artists of stronger fibre and greater vitality, to pursue
+     if only occasionally a similar direction and object."
+
+At the end of a long life by no means devoid of mistakes and
+disappointments, it would seem as though Watts attained to his desires.
+The man has passed away, while the witness of his aspirations remains.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 13477 ***
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 13477 ***</div>
+<h1>The Project Gutenberg eBook, Watts (1817-1904), by William Loftus Hare</h1>
+<br />
+<br />
+<br />
+<br />
+<hr class="full" />
+<br />
+<br />
+<br />
+<h1>WATTS (1817-1904)</h1>
+<h2>BY W. LOFTUS HARE</h2>
+<p class="center" style="{font-variant: small-caps; font-size: 120%}">ILLUSTRATED WITH EIGHT<br />
+REPRODUCTIONS IN COLOUR</p>
+<br />
+<br />
+<hr />
+<br />
+<br />
+<h2>MASTERPIECES IN COLOUR</h2>
+<h3>EDITED BY T. LEMAN HARE</h3>
+
+<!-- used depreciated align value in the table, can't find how to use style to do it -->
+  <table border="0" cellpadding="2" cellspacing="1" width="45%" summary="Series Listing" align="center">
+
+  <tr>
+  <td valign="top" align="left" width="50%">&nbsp;
+  </td>
+  <td valign="top" align="left" width="50%">&nbsp;
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">ARTIST.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">AUTHOR.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">VELAZQUEZ.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">REYNOLDS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}"> S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">TURNER.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">ROMNEY.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">GREUZE.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">ALYS EYRE MACKLIN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">BOTTICELLI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">HENRY B. BINNS.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">ROSSETTI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">LUCIEN PISSARRO.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">BELLINI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">GEORGE HAY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">FRA ANGELICO.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JAMES MASON.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">REMBRANDT.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JOSEF ISRAELS.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LEIGHTON.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A. LYS BALDRY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">RAPHAEL.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PAUL G. KONODY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">HOLMAN HUNT.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">MARY E. COLERIDGE.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">TITIAN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MILLAIS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A. LYS BALDRY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">CARLO DOLCI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">GEORGE HAY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">GAINSBOROUGH.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">MAX ROTHSCHILD.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">TINTORETTO.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LUINI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JAMES MASON.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">FRANZ HALS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">EDGCUMBE STALEY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">VAN DYCK.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PERCY M. TURNER.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LEONARDO DA VINCI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">M.W. BROCKWELL.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">RUBENS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">WHISTLER.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">T. MARTIN WOOD.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">HOLBEIN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">BURNE-JONES.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A. LYS BALDRY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">VIG&Eacute;E LE BRUN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. HALDANE MACFALL.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">CHARDIN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PAUL G. KONODY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">FRAGONARD.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. HALDANE MACFALL.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MEMLINC.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">W.H.J. &amp; J.C. WEALE.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">CONSTABLE.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">RAEBURN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JAMES L. CAW.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">JOHN S. SARGENT.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">T. MARTIN WOOD.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LAWRENCE.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">D&Uuml;RER.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">H.E.A. FURST.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MILLET.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PERCY M. TURNER.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">WATTEAU.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">HOGARTH.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MURILLO.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">WATTS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">W. LOFTUS HARE.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">INGRES.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A.J. FINBERG.
+  </td>
+  </tr>
+  </table>
+
+
+<p style="{text-align: center}"><i>Others in Preparation</i>.</p>
+
+<p style="{text-align: center; font-weight: bold}">The Publishers have to acknowledge the permission of Mrs.<br />
+Watts to reproduce the series of paintings here included.</p>
+
+<br />
+<hr />
+
+<a name="image-1"><!-- Image 1 --></a>
+<p class="center">
+<a href="images/image-1.jpg" target="_blank">
+<img border="0" src="images/image-1.jpg" height="900" width="582" alt="DEATH CROWNING INNOCENCE" /></a>
+</p>
+
+<p class="center" style="{font-weight: bold}">PLATE I.&mdash;DEATH CROWNING INNOCENCE</p>
+<div class='blkcap'><p style="{text-indent: 0cm}">A little child lying in the lap of the winged figure of Death.
+     Death, ever to Watts a silent angel of pity, &quot;takes charge of
+     Innocence, placing it beyond the reach of evil.&quot; It was first
+     exhibited at the Winter Exhibition of the New Gallery, 1896,
+     and was given to the nation in 1897. It is now at the Tate
+     Gallery.]</p></div>
+
+<br />
+<hr />
+<br />
+
+
+<a name="image-2"><!-- Image 2 --></a>
+<p class="center">
+<img border="0" src="images/image-2.png" height="470" width="500" alt="IN SEMPITERNUM" />
+</p>
+
+<br />
+
+<hr />
+<a name='LIST_OF_ILLUSTRATIONS'></a><h2>LIST OF ILLUSTRATIONS</h2>
+
+
+<br />
+
+<div class="toc"><p style="{font-size: 115%}"><a href="#image-1" style="text-decoration:none">I. Death crowning Innocence</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-4" style="text-decoration:none">II. The Minotaur</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-5" style="text-decoration:none">III. Hope</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-6" style="text-decoration:none">IV. Thomas Carlyle</a><br />
+<span style="margin-left: 2em;">At the South Kensington Museum</span><br />
+<br />
+<a href="#image-7" style="text-decoration:none">V. Love and Life</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-8" style="text-decoration:none">VI. Love Triumphant</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-9" style="text-decoration:none">VII. The Good Samaritan</a><br />
+<span style="margin-left: 2em;">At the Manchester Art Gallery</span><br />
+<br />
+<a href="#image-10" style="text-decoration:none">VIII. Prayer</a><br />
+<span style="margin-left: 2em;">At the Manchester Art Gallery</span><br />
+</p></div>
+
+<hr />
+
+<a name="image-3"><!-- Image 3 --></a>
+<p class="center">
+<img border="0" src="images/image-3.png" height="574" width="500" alt="WATTS" />
+</p>
+
+
+<hr />
+<a name='I'></a><h2>I</h2>
+<h3>A BIOGRAPHICAL OUTLINE</h3>
+<br />
+
+<p>In July of 1904 the eighty-seven mortal years of George Frederick Watts
+came to an end. He had outlived all the contemporaries and acquaintances
+of his youth; few, even among the now living, knew him in his middle
+age; while to those of the present generation, who knew little of the
+man though much of his work, he appeared as members of the Ionides
+family, thus inaugurating the series of private and public portraits for
+which he became so famous. The Watts of our day, however, the teacher
+first and the painter afterwards, had not yet come on the scene. His
+first aspiration towards monumental painting began in the year 1843,
+when in a competition for the decoration of the Houses of Parliament he
+gained a prize of &pound;300 for his cartoon of &quot;Caractacus led Captive
+through the Streets of Rome.&quot; At this time, when history was claiming
+pictorial art as her servant and expositor, young Watts carried off the
+prize against the whole of his competitors. This company included the
+well-known historical painter Haydon, who, from a sense of the
+impossibility of battling against his financial difficulties, and from
+the neglect, real or fancied, of the leading politicians, destroyed
+himself by his own hand.</p>
+
+<p>The &pound;300 took the successful competitor to Italy, where for four years
+he remained as a guest of Lord Holland. Glimpses of the Italy he gazed
+upon and loved are preserved for us in a landscape of the hillside town
+of Fiesole with blue sky and clouds, another of a castellated villa
+and mountains near Florence, and a third of the &quot;Carrara Mountains
+near Pisa&quot;; while of his portraiture of that day, &quot;Lady Holland&quot; and
+&quot;Lady Dorothy Nevill&quot; are relics of the Italian visit.</p>
+
+<br />
+<br />
+
+<a name="image-4"><!-- Image 4 --></a>
+<p class="center">
+<a href="images/image-4.jpg" target="_blank">
+<img border="0" src="images/image-4.jpg" height="900" width="726" alt="THE MINOTAUR" /></a>
+</p>
+
+<p class="center" style="{font-weight: bold}">PLATE II.&mdash;THE MINOTAUR</p>
+<div class='blkcap'><p style="{text-indent: 0cm}">In this terrible figure, half man, half bull, gazing over the
+     sea from the battlement of a hill tower, we see the artist's
+     representation of the greed and lust associated with modern
+     civilisations. The picture was exhibited at the Winter
+     Exhibition of the New Gallery, 1896, and formed part of the
+     Watts Gift in 1897. It hangs in the Watts Room at the Tate
+     Gallery. </p></div>
+
+<br />
+
+<p>Italy, and particularly Florence, was perpetual fascination and
+inspiration to Watts. There he imbibed the influences of Orcagna and
+Titian&mdash;influences, indeed, which were clearly represented in the next
+monumental painting which he attempted. It came about that Lord Holland
+persuaded his guest to enter a fresh competition for the decoration of
+the Parliament Houses, and Watts carried off the prize with his &quot;Alfred
+inciting the Saxons to resist the landing of the Danes.&quot; The colour and
+movement of the great Italian masters, conspicuously absent from the
+&quot;Caractacus&quot; cartoon, were to be seen in this new effort, where, as has
+been said, the English king stands like a Raphaelesque archangel in the
+midst of the design.</p>
+
+<p>In 1848 Watts had attained, one might almost say, the position of
+official historical painter to the State, a post coveted by the
+unfortunate Haydon; and he received a commission to paint a fresco of
+&quot;St. George overcomes the Dragon,&quot; which was not completed till 1853.
+In this year he contributed as an appendix to the Diary of Haydon&mdash;in
+itself an exciting document, showing how wretched the life of an
+official painter then might be&mdash;a note telling of the state of
+historical and monumental painting in the 'forties, and of his own
+attitude towards it; a few of his own words, written before the days of
+the &quot;poster,&quot; may be usefully quoted here:</p>
+
+<div class='blkquot'><p class="center" style="{font-weight: bold}">ON THE PUBLIC EMPLOYMENT OF ARTISTS</p>
+
+<p>     Patriots and statesmen alike forget that the time will come
+     when the want of great art in England will produce a gap sadly
+     defacing the beauty of the whole national structure....</p>
+
+<p>     Working, for example, as an historian to record England's
+     battles, Haydon would, no doubt, have produced a series of
+     mighty and instructive pictures....</p>
+
+<p>     Why should not the Government of a mighty country undertake
+     the decoration of all the public buildings, such as Town
+     Halls, National Schools, and even Railway Stations....</p>
+
+<p>     ... Or considering the walls as slates whereon the school-boy
+     writes his figures, the great productions of other times might
+     be reproduced, if but to be rubbed out when fine originals
+     could be procured; for the expense would very little exceed
+     that of whitewashing....</p>
+
+<p>     If, for example, on some convenient wall the whole line of
+     British sovereigns were painted&mdash;were monumental effigies
+     well and correctly drawn, with date, length of reign,
+     remarkable events written underneath, these worthy objects
+     would be attained&mdash;intellectual exercise, decoration of space,
+     and instruction to the public. </p></div>
+
+<br />
+
+<p>The year 1848 was a critical time for Watts; his first allegorical
+picture, &quot;Time and Oblivion,&quot; was painted, and, in the year following,
+&quot;Life's Illusions&quot; appeared on the walls of the famous Academy which
+contained the first works of the Pre-Raphaelite Brotherhood. Watts was
+not of the party, though he might have been had he desired; he preferred
+independence.</p>
+
+<p>Watts' personal life was at this time pervaded by the influence of Lord
+and Lady Holland, who, having returned from Florence to London, had him
+as a constant visitor to Holland House. In 1850 he went to live at The
+Dower House, an old building in the fields of Kensington. There, as a
+guest of the Prinsep family, he set up as a portrait painter. His host
+and family connections were some of the first to sit for him; and he
+soon gained fame in this class of work.</p>
+
+<p>There was a temporary interruption in 1856, when a journey to the East,
+in company with Sir Charles Newton, for the purpose of opening the
+buried Temple of Mausolus at Halicarnassus, gave Watts further insight
+into the old Greek world; and, one cannot but think, stimulated his
+efforts, later so successful, in depicting for us so many incidents in
+classical lore. We have, in a view of a mountainous coast called &quot;Asia
+Minor,&quot; and another, &quot;The Isle of Cos,&quot; two charming pictorial records
+of this important expedition. The next six years of the artist's life
+were spent as a portrait painter; not, indeed, if one may say so, as a
+professional who would paint any one's portrait, but as a friend, who
+loved to devote himself to his friends.</p>
+
+<p>In pursuance of his principles touching monumental work, Watts engaged
+himself over a period of five years on the greatest and the last of his
+civic paintings&mdash;namely, the &quot;Justice; a Hemicycle of Lawgivers,&quot; to
+which I shall later refer.</p>
+
+<p>Watts was a man who seems to have enjoyed in a singular degree the great
+privilege of friendship, which while it has its side of attachment, has
+also its side of detachment. Even in his youthful days he never &quot;settled
+down,&quot; but was a visitor and guest rather than an attached scholar and
+student at the schools and studies. It is told of him that when just
+about to leave Florence, after a short visit, he casually presented a
+letter of introduction to Lord Holland, which immediately led to a four
+years' stay there, and this friendship lasted for many years after the
+ambassador's return to England. Other groups of friends, represented by
+the Ionides, the Prinseps, the Seniors, and the Russell Barringtons,
+seemed to have possessed him as their special treasure, in whose
+friendship he passed a great part of his life. Two great men, the
+titular chiefs of poetry and painting, were much impressed by him, and
+drew from him great admiration&mdash;Tennyson and Leighton; from the latter
+he learned much; in the sphere of music, of which Watts was passionately
+fond, there stands out Joachim the violinist.</p>
+
+<p>Watts used to recall, as the happiest time in his life, his youthful
+days as a choral singer; and he always regretted that he had not become
+a musician. Besides being fond of singing he declared that he constantly
+heard (or felt) mystic music&mdash;symphonies, songs, and chorales. Only
+once did he receive a <i>vision</i> of a picture&mdash;idea, composition and
+colours&mdash;that was &quot;Time, Death, and Judgment.&quot; Music, after all, is
+nearer to the soul of the intuitive man than any of the arts, and Watts
+felt this deeply. He also had considerable dramatic talent.</p>
+
+<p>In 1864 some friends found for Watts a bride in the person of Miss Ellen
+Terry. The painter and the youthful actress were married in Kensington
+in February of that year, and Watts took over Little Holland House. The
+marriage, however, was irksome, both to the middle-aged painter and the
+vivacious child of sixteen, whose words, taken from her autobiography,
+are the best comment we possess on this incident:</p>
+
+<div class='blkquot'><p>&quot;Many inaccurate stories have been told of my brief married
+     life, and I have never contradicted them&mdash;they were so
+     manifestly absurd. Those who can imagine the surroundings into
+     which I, a raw girl, undeveloped in all except my training as
+     an actress, was thrown, can imagine the situation.... I
+     wondered at the new life and worshipped it because of its
+     beauty. When it suddenly came to an end I was thunderstruck;
+     and refused at first to consent to the separation which was
+     arranged for me in much the same way as my marriage had
+     been.... There were no vulgar accusations on either side, and
+     the words I read in the deed of separation, 'incompatibility
+     of temper,' more than covered the ground. Truer still would
+     have been 'incompatibility of <i>occupation</i>,' and the
+     interference of well-meaning friends.</p>
+
+<p>     &quot;'The marriage was not a happy one,' they will probably say
+     after my death, and I forestall them by saying that it was in
+     many ways very happy indeed. What bitterness there was effaced
+     itself in a very remarkable way.&quot; (<i>The Story of My Life</i>,
+     1908.) </p></div>
+
+<br />
+
+<p>In 1867, at the age of fifty, without his application or knowledge,
+Watts was made an Associate, and in the following year a full Member, of
+the Royal Academy. Younger men had preceded him in this honour, but
+doubtless Watts' modesty and independence secured for him a certain
+amount of official neglect. The old studio in Melbury Road, Kensington,
+was pulled down in 1868, and a new house was built suited to the painter
+who had chosen for himself a hermit life. The house was built in such a
+way as would avoid the possibility of entertaining guests, and was
+entirely dedicated to work. Watts continued his series of official
+portraits, and many of the most beautiful mythical paintings followed
+this change. Five years later, Watts was found at Freshwater in the Isle
+of Wight, and in 1876 he secured what he had so long needed, the
+sympathetic help and co-operation in his personal and artistic aims, in
+Mr. and Mrs. Russell Barrington, his neighbours.</p>
+
+<p>In 1877 Watts decided, in conformity with his views on patriotic art, to
+give his pictures to the nation, and there followed shortly after, in
+1881 and 1882, exhibitions of his works in Whitechapel and the Grosvenor
+Gallery. A leaflet entitled &quot;What should a picture say?&quot; issued with the
+approval of Watts, in connection with the Whitechapel Exhibition, has a
+characteristic answer to the question put to him.</p>
+
+<div class='blkquot'><p>&quot;Roughly speaking, a picture must be regarded in the same
+     light as written words. It must speak to the beholder and tell
+     him something.... If a picture is a representation only, then
+     regard it from that point of view only. If it treats of a
+     historical event, consider whether it fairly tells its tale.
+     Then there is another class of picture, that whose purpose is
+     to convey suggestion and idea. You are not to look at that
+     picture as an actual representation of facts, for it comes
+     under the same category of dream visions, aspirations, and we
+     have nothing very distinct except the sentiment. If the
+     painting is bad&mdash;the writing, the language of art, it is a
+     pity. The picture is then not so good as it should be, but the
+     thought is there, and the thought is what the artist wanted to
+     express, and it is or should be impressed on the spectator.&quot; </p></div>
+
+<br />
+
+<p>In 1886 his pictures were exhibited in New York, where they created a
+great sensation; but incidents connected with the exhibition, and
+criticisms upon it, caused the artist much nervous distress.</p>
+
+<br />
+<br />
+
+<a name="image-5"><!-- Image 5 --></a>
+<p class="center">
+<a href="images/image-5.jpg" target="_blank">
+<img border="0" src="images/image-5.jpg" height="900" width="733" alt="HOPE" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE III.&mdash;HOPE</p>
+<p class="center">(At the Tate Gallery)</p>
+
+<div class='blkquot'><p style="{text-indent: 0cm}">At the first glance it is rather strange that such a picture
+     should bear such a title, but the imagery is perfectly true.
+     The heavens are illuminated by a solitary star, and Hope bends
+     her ear to catch the music from the last remaining string of
+     her almost shattered lyre. The picture was painted in 1885 and
+     given to the nation in 1897. A very fine duplicate is in the
+     possession of Mrs. Rushton. </p></div>
+
+<br />
+
+<p>It was a peculiar difficulty of his nature which led him to insist, on
+the occasions of the London and provincial exhibitions of his pictures,
+that the borrowers were to make all arrangements with his frame-maker,
+that he should not be called upon to act in any way, and that no
+personal reference should be introduced. Watts always considered himself
+a private person; he disliked public functions and fled from them if
+there were any attempt to draw attention to him. His habits of work were
+consistent with these unusual traits. At sunrise he was at his easel.
+During the hot months of summer he was hard at work in his London
+studio, leaving for the country only for a few weeks during foggy
+weather.</p>
+
+<p>At the age of sixty-nine Watts married Miss Mary Fraser-Tytler, with
+whom he journeyed to Egypt, painting there a study of the &quot;Sphinx,&quot; one
+of the cleverest of his landscapes. Three years after his return, he
+settled at Limnerslease, Compton, in Surrey, where he took great
+interest in the attempt to revive industrial art among the rural
+population.</p>
+
+<p>Twice, in 1885 and 1894, the artist refused, for private reasons, the
+baronetcy that other artists had accepted. He lived henceforth and died
+the untitled patriot and artist, George Frederick Watts.</p>
+
+
+
+<hr />
+<a name='II'></a><h2>II</h2>
+<h3>THE MAN AND THE MESSENGER</h3>
+<br />
+
+<p>Having given in the preceding pages the briefest possible outline of the
+life of Watts as a man amongst men, we are now able to come to closer
+quarters. He was essentially a messenger&mdash;a teacher, delivering to the
+world, in such a manner that his genius and temperament made possible,
+ideas which had found their place in his mind. He would have been the
+first to admit that without these ideas he would be less than nothing.</p>
+
+<p>If it were possible to bring together all the external acts of the
+painter's life, his journeyings to and fro, his making and his losing
+friends, we should have insufficient data to enable us to understand
+Watts' message; his great ambitions, his constant failures, his intimate
+experiences, his reflections and determinations&mdash;known to none but
+himself&mdash;surely these, the internal life of Watts, are the real sources
+of his message? True, he was in the midst of the nineteenth century,
+breathing its atmosphere, familiar with the ideals of its great men,
+doubting, questioning, and hoping with the rest. To him, as to many a
+contemporary stoic, the world was in a certain sense an alien ground,
+and mortal life was to be stoically endured and made the best of. It is
+impossible to believe, however, that this inspiring and prophetic
+painter reproduced and handed on merely that which his time and society
+gave him. His day and his associates truly gave him much; the past and
+his heredity made their contributions; but we must believe that the
+purest gold was fired in the crucible of his inner experience, his joys
+and his sufferings. In him was accomplished that great discovery which
+the philosophers have called Pessimism; he not only saw in other men (as
+depicted in his memorable canvas of 1849), but he experienced in himself
+the transitory life's illusions. To Watts, the serious man of fifty
+years, Love and Death, Faith and Hope, Aspiration, Suffering, and
+Remorse, were not, as to the eighteenth-century rhymester, merely Greek
+ladies draped in flowing raiment; to him they were realities, intensely
+focussed in himself. Watts was giving of himself, of his knowledge and
+observation of what Love is and does, and how Death appears so
+variously; and who but a man who knew the melancholy of despair could
+paint that picture &quot;Hope&quot;?</p>
+
+<p>Immediately after the central crisis of his personal life appeared the
+canvas entitled &quot;Fata Morgana,&quot; illustrative of a knight in vain pursuit
+of a phantom maiden; and before long there was from his brush the
+pictured story of a lost love, &quot;Orpheus and Eurydice,&quot; one of the
+saddest of all myths, but, one feels, no old myth to him.</p>
+
+<p>By a more careful analysis of the artist's work we hope to learn the
+teaching Watts set himself to give, and to ascertain the means that he
+adopted; but one point needs to be made clear at this stage, namely,
+that although Watts was a great teacher, yet he was not a revolutionary.
+The ideals he held up were not new or strange, but old, well-tried, one
+might almost say conventional. They represent the ideals which, in the
+friction and turmoil of ages, have emerged as definite, clear, final.
+They are not disputed or dubious notions, but accepted truisms forgotten
+and neglected, waiting for the day when men shall live by them.</p>
+
+<p>Furthermore, Watts was not in any sense a mystic&mdash;neither personally or
+as an artist. &quot;The Dweller in the Innermost&quot; is not the transcendental
+self known to a few rare souls, but is merely conscience, known to all.
+The biblical paintings have no secret meaning assigned to them. The
+inhabitants of Eden, the hero of the Deluge, the Hebrew patriarchs,
+Samson and Satan&mdash;all these are the familiar figures of the
+evangelical's Bible. &quot;Eve Repentant&quot; is the woman Eve, the mother of the
+race; &quot;Jacob and Esau&quot; are the brothers come to reconciliation; &quot;Jonah&quot;
+is the prophet denouncing the Nineveh of his day and the Babylon of
+this. The teaching&mdash;and there is teaching in every one of them&mdash;is plain
+and ethical. So also, with the Greek myths; they teach plainly&mdash;they
+hold no esoteric interpretations. Watts is no Neo-Platonist weaving
+mystical doctrines from the ancient hero tales; he is rather a stoic, a
+moralist, a teacher of earthly things.</p>
+
+<p>But we must be careful to guard against the impression of Watts as a
+lofty philosopher consciously issuing proclamations by means of his art.
+Really he was not aware of being a philosopher at all; he was simply an
+artist, an exquisitely delicate and sensitive medium, who, when once
+before his canvas, suddenly filled with his idea, was compelled to say
+his word. If there be any synthesis about his finished work&mdash;and no one
+can deny this&mdash;it was not because Watts gave days and nights and years
+to &quot;thinking things out.&quot; His paintings are, as he used to call them,
+&quot;anthems,&quot; brought forth by the intuitive man, the musician. This was
+the fundamental Watts. Whatever unity there be, is due rather to unity
+of inspiration than to strength or definiteness of character and
+accomplishment, and this was sometimes referred to by Watts as a golden
+thread passing through his life&mdash;a thread of good intention&mdash;which he
+felt would guide him through the labyrinth of distractions, mistakes,
+irritations, ill health, and failures.</p>
+
+<p>One of the striking incidents in the life of Watts was his offer to
+decorate Euston Railway Station with frescoes entitled &quot;The Progress of
+Cosmos.&quot; &quot;Chaos&quot; we have in the Tate Gallery, full of suggestiveness and
+interest. We see a deep blue sky above the distant mountains, gloriously
+calm and everlasting; in the middle distance to the left is a nebulous
+haze of light, while in the foreground the rocks are bursting open and
+the flames rush through. Figures of men, possessed by the energy and
+agony of creation, are seen wrestling with the elements of fire and
+earth. One of these figures, having done his work, floats away from the
+glow of the fire across the transparent water, while others of his
+creative family have quite passed the struggling stage of movement and
+are reclining permanent and gigantic to the right of the picture. The
+same idea is repeated in the chain of draped women who are emerging from
+the watery deep; at first they are swept along in isolation, then they
+fly in closer company, next they dance and finally walk in orderly
+procession. But Chaos, for all this, is a unity; of all material forms
+it is the most ancient form; Cosmos however is the long-drawn tale
+beginning with the day when &quot;The Spirit of God brooded on the face of
+the waters.&quot; Cosmos might have been Watts' synthetic pictorial
+philosophy; Herbert Spencer with his pen, and he with his brush, as it
+were, should labour side by side. But this was not to be; the Directors
+of the North-Western Railway declined the artist's generous offer, and
+he had to get his &quot;Cosmos&quot; painted by degrees. On the whole, perhaps, we
+should be thankful that the railway company liberated Watts from this
+self-imposed task. We remember that Dante in his exile set out to write
+&quot;Il Convivio,&quot; a Banquet of so many courses that one might tremble at
+the prospect of sitting down to it; the four treatises we have are
+interesting, though dry as dust; but if Dante had finished his Banquet,
+he might never have had time for his &quot;Divine Comedy&quot;; so perhaps, after
+all, we shall be well content to be without Watts' &quot;Cosmos,&quot; remembering
+what we have gained thereby. Besides, the continuous and spontaneous
+self-revelation of an artist or a poet is sometimes truer than a rigid
+predetermined plan.</p>
+
+<br />
+<br />
+
+<a name="image-6"><!-- Image 6 --></a>
+<p class="center">
+<a href="images/image-6.jpg" target="_blank">
+<img border="0" src="images/image-6.jpg" height="900" width="720" alt="THOMAS CARLYLE" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE IV.&mdash;THOMAS CARLYLE</p>
+<p class="center">(At the South Kensington Museum)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">This canvas was painted in 1868, and is the earlier of the two
+     portraits of the famous historian painted by Watts. It formed
+     part of the Foster Bequest. It is interesting to compare this
+     with the painting in the National Portrait Gallery. </p></div>
+
+<br />
+
+<p>A few words from the pen of the artist, appearing by way of preface to a
+book, &quot;A Plain Handicraft,&quot; may here be quoted to indicate the strong
+views Watts took on the &quot;Condition-of-England Question.&quot; His interest in
+art was not centred in painting, or sculpture, or himself, or his fellow
+artists. He believed in the sacred mission of art as applied to profane
+things. We see how closely he adheres to the point of view made so
+famous by Ruskin. Both Watts and Ruskin, one feels, belong rather to the
+days of Pericles, when everything was best in the state because the
+citizens gave themselves up to it and to each other. Writing of the
+necessity and utility of reviving Plain Handicrafts among the mass of
+the people, the painter of &quot;Mammon&quot; says:</p>
+
+<div class='blkquot'><p>&quot;... When the object is to vitalise and develop faculties&mdash;the
+     especial inheritance of the human race, but strangely dormant
+     in our time among the largest section of the community&mdash;the
+     claim becomes one that cannot be ignored. Looking at the
+     subject from a point of view commanding a wide horizon, it
+     seems to be nothing less than a social demand, rising into a
+     religious duty, to make every endeavour in the direction of
+     supplying all possible compensating consolation for the
+     routine of daily work, become so mechanical and dreary. When
+     home is without charm, and country without attaching bonds,
+     the existence of a nation is rudely shaken; dull discontent
+     leading to sullen discontent, may readily become active
+     animosity. There will not be men interested in the maintenance
+     of law and order, who feel that law and order bring them no
+     perceptible formal advantage. In the race for wealth, it has
+     been forgotten that wealth alone can offer neither dignity nor
+     permanent safety; no dignity, if the man of the population is
+     degraded by dull toil and disgraceful competition; no safety,
+     if large numbers drag on a discontented existence, while the
+     more active and intelligent leave our shores.</p>
+
+<p>     &quot;Whether or not our material wealth is to be increased or
+     diminished, it is certain that a more general well-being and
+     contentment must be striven for. A happy nation will be a
+     wealthy nation, wealthy in the best sense, in the assurance
+     that its children can be depended upon in case of need, wealth
+     above the fortune of war, and safety above the reach of
+     fortune. The rush of interest in the direction of what are
+     understood as worldly advantages, has trampled out the sense
+     of pleasure in the beautiful, and the need of its presence as
+     an element essential to the satisfaction of daily life, which
+     must have been unconsciously felt in ages less absorbed in
+     acquiring wealth for itself alone. In olden times our art
+     congresses would have been as needless as congresses to
+     impress on the general mind the advantages of money-making
+     would be in these.&quot; (<i>Plain Handicraft</i>, 1892.) </p></div>
+
+<p>In G.F. Watts, however, we have an instance of a man who, although he
+sees and is attracted by abstract principles of ethics, does not
+perceive the manner of their final application; he is not really
+scientific. It might be thought that the painter of &quot;Greed and Toil,&quot;
+&quot;The Sempstress,&quot; &quot;Mammon,&quot; &quot;The Dweller of the Innermost,&quot; and &quot;Love
+Triumphant,&quot; would be able to indicate, in that sphere of social
+activity called &quot;practical politics,&quot; how these principles could find
+their expression and realisation. It is interesting, however, to know,
+and to have it authoritatively from his own pen, that Watts at least
+could not discern either the time or the application of these ethical
+principles to the affairs of the great world; for in 1901 there appeared
+from his hand a quasi-philosophical defence of the South African War,
+entitled &quot;Our Race as Pioneers.&quot; He said:</p>
+
+<div class='blkquot'><p>&quot;Inevitable social and political measures claim obedience,
+     which may be at variance with the spiritual and ethical
+     conscience; but there comes in the question of necessity,
+     apparent laws that contest with pure right and wrong; ... and
+     as we must live, nothing remains but commerce; and commerce
+     cannot be carried on without competition, and pushing the
+     limits of our interests. The result of competition can only be
+     conflict&mdash;war, unless some other outlet can be found. Commerce
+     will not supply this; its very activity, which is its health
+     and life, will produce the ambition, envy, and jarring
+     interests that will be fatal to peace.... The principle,
+     <i>Movement</i>, must have its outlet, its safety valve. This has
+     always been war.... The goddess Trade, the modern Pandora, has
+     in her box all the evils that afflict mankind.... How can
+     Commerce, as understood by the principles of trade, abolish
+     war?&quot;</p>
+
+<p>     &quot;The simple principles of right and wrong are easily
+     defined,&quot; and perhaps easily painted; &quot;but the complexity of
+     human affairs and legitimate interests, conducing to the
+     activity demanded by the great law, <i>Movement</i>, makes some
+     elasticity necessary, even where there is the most honest
+     desire to be just.&quot; </p></div>
+
+<p>Thus, from his own words, we see how the painter transcends the
+politician; he is a stimulator, he gives hints, not instructions; he is
+commanding, imperative, but he does not show how, nor stay to devise
+ways and means. He even perceives, as he thinks, that though the
+commands of his pictures, &quot;Faith,&quot; &quot;Conscience,&quot; and &quot;Love Triumphant,&quot;
+be given, yet they cannot be obeyed fully because of &quot;Evolution&quot; and
+&quot;Destiny,&quot; or as he calls it &quot;Movement.&quot;</p>
+
+<p>To his intimate friends Watts, who was so introspective, often
+complained of &quot;the duality of my nature.&quot; In the midst of affairs,
+financial or worldly, on questions of criticism, personal conduct and
+the like, the great artist was variable and uncertain. Though humble and
+self-deprecatory to an extreme degree, he made mistakes from which he
+could escape only with great difficulty; and he suffered much from
+depression and melancholy. This man, however, never appears in the
+pictures; when once in his studio, alone facing his canvas, Watts is
+final, absolute, an undisturbed and undistracted unity, conscious of
+that overwhelming &quot;rightness&quot; known to a Hebrew prophet. Whatever Time
+or Death may have in store for him or any man, there riding swiftly
+above them is Judgment the Absolute One; whatever theories may be spun
+from the perplexed mind of the magazine writer about Expansion and
+Necessity, there sits the terrible &quot;Mammon&quot; pilloried for all time.
+Indeed, he said his pictures were &quot;for all time&quot;; they were from the
+mind and hand of the seer, who, rising from his personality, transcended
+it; and as the personality of dual nature gradually fades away into the
+forgotten past, the Messenger emerges ever more and more clearly,
+leaving his graphic testimonies spread out upon a hundred canvases. It
+might be said as a final estimate that the value and sincerity of Watts'
+work becomes intensified a hundred-fold when we remember that its
+grandeur and dignity, its unity and its calm, was the work of a man who
+seldom, if ever, attained internal peace. Like some who speak wiser than
+they know, so Watts gave himself as an instrument to inspirations of
+which he was not able, through adverse circumstances, to make full use.
+Thus was the Man divided from the Messenger.</p>
+
+<br />
+<br />
+
+<a name="image-7"><!-- Image 7 --></a>
+<p class="center">
+<a href="images/image-7.jpg" target="_blank">
+<img border="0" src="images/image-7.jpg" height="900" width="492" alt="LOVE AND LIFE" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE V.&mdash;LOVE AND LIFE</p>
+<p class="center">(At the Tate Gallery)</p>
+
+<div class='blkquot'><p style="{text-indent: 0cm}">Love, strong in his immortal youth, leads Life, a slight
+     female figure, along the steep uphill path; with his broad
+     wings he shelters her, that the winds of heaven may not visit
+     her too roughly. Violets spring where Love has trod, and as
+     they ascend to the mountain top the air becomes more and more
+     golden. The implication is that, without the aid of Divine
+     Love, fragile Human Life could not have power to ascend the
+     steep path upward. First exhibited at the Grosvenor Gallery in
+     1885. Companion picture to &quot;Love and Death,&quot; and &quot;Love
+     Triumphant.&quot; </p></div>
+
+<br />
+
+<hr />
+<a name='III'></a><h2>III</h2>
+
+<h3>A REVIEW OF WATTS' WORK</h3>
+<br />
+
+<p>Failing the &quot;Progress of the Cosmos,&quot; we have from the mind and brush of
+Watts a great number of paintings, which may be grouped according to
+their character. Such divisions must not be regarded as rigid or
+official, for often enough a picture may belong to several groups at the
+same time. For the purpose of our survey, however, we divide them as
+follows:</p>
+
+<span style='margin-left: 5.0cm;'>1. Monumental or Historical Paintings and Frescoes.</span><br />
+<span style='margin-left: 5.0cm;'>2. Humanitarian or Social Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>3. Portraits, private and public.</span><br />
+<span style='margin-left: 5.0cm;'>4. Biblical Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>5. Mythical Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>6. &quot;Pessimistic&quot; Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>7. The Great Realities.</span><br />
+<span style='margin-left: 5.0cm;'>8. The Love Series.</span><br />
+<span style='margin-left: 5.0cm;'>9. The Death Series.</span><br />
+<span style='margin-left: 5.0cm;'>10. Landscapes.</span><br />
+<span style='margin-left: 5.0cm;'>11. Unclassified Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>12. Paintings of Warriors. </span><br />
+
+<br />
+
+<p>&quot;Caractacus&quot; was the first of the monumental paintings; by them Watts
+appears as a citizen and a patriot, whose insular enthusiasm extends
+backward to the time when the British chief Caractacus fought and was
+subdued by the Romans. He enters also into the spirit of the resistance
+offered to the Danes by King Alfred. George and the Dragon are included
+by him in the historical though mythical events of our race. Undoubtedly
+the most remarkable of Watts' monumental paintings is the fresco
+entitled &quot;Justice; a Hemicycle of Lawgivers,&quot; painted for the Benchers'
+Hall in Lincoln's Inn. It is 45 x 40 feet. Here Watts, taking the
+conventional and theoretical attitude, identifies law-making with
+justice, and in his fresco we see thirty-three figures, representing
+Moses, Zoroaster, Pythagoras, Confucius, Lycurgus and his fellow-Greeks,
+Numa Pompilius and other Romans. Here figures also Justinian, the maker
+of the great Code; Mahomet, King Alfred, and even Attila the Hun. The
+painting represents the close of this phase of Watts' work; he received
+a gift of &pound;500 and a gold cup in memory of its achievement. In England,
+at least, no one has ever attempted or accomplished anything in fresco
+of so great dimensions. Watts' monumental genius drove him to sculpture
+on the grand scale also. &quot;Hugh Lupus&quot; for the Duke of Westminster, and
+&quot;Physical Energy,&quot; upon which he laboured at intervals during
+twenty-five years of his life, are his great triumphs in this direction.
+It is not the first time that an artist deficient in health and strength
+has made physical energy into a demigod. Men often, perhaps always,
+idealise what they have not. It was the wish of the sculptor to place a
+cast of &quot;Physical Energy&quot; on the grave of Cecil Rhodes on the Matoppo
+Hills in South Africa, indicating how Watts found it possible (by
+idealising what he wished to idealise), to include within the scope and
+patronage of his art, the activities, aims, and interests of modern
+Colonial Enterprise.</p>
+
+<p><i>Humanitarian Paintings</i>.&mdash;The earliest of these, &quot;The Wounded Heron,&quot;
+asks our pity for the injured bird, and forbids us to join in the
+enthusiasm of the huntsman who hurries for his suffering prize. The same
+thought is expressed in the beautiful &quot;Shuddering Angel,&quot; who is
+covering his face with his hands at the sight of the mangled plumage
+scattered on the altar of fashion. In the large canvases, &quot;A Patient
+Life of Unrequited Toil,&quot; and &quot;Midday Rest,&quot; we have paintings of
+horses, both of them designed to teach us consideration for the &quot;friend
+of man.&quot; &quot;The Sempstress&quot; sings us Tom Hood's &quot;Song of the Shirt.&quot;</p>
+
+<p>&quot;The Good Samaritan&quot; (see Plate VII.) properly belongs to this series.
+It was presented by the artist to the citizens of Manchester, as an
+expression of his admiration of Thomas Wright, the prison
+philanthropist, whose work was at that time (1852) creating a sensation
+in the north of England. If we compare this painting with other Biblical
+subjects executed at a later date, we see how much Watts' work has
+gained since then. The almost smooth texture and the dark shadows of the
+Manchester picture have given way to ruggedness and transparency. Still,
+&quot;The Good Samaritan&quot; is simple and excellent in purpose and composition.</p>
+
+<p>A little known painting entitled &quot;Cruel Vengeance,&quot; seems to be a
+forecast of &quot;Mammon&quot;; a creature with human form and vulture's head
+presses under his hand a figure like the maiden whose head rests on
+Mammon's knee. In &quot;Greed and Labour&quot; the seer's eye pierces through the
+relations between the worker and his master; Labour is a fine strong
+figure loaded with the implements of his toil, with no feeling of
+subjection in his manly face; on the other hand, the miser creeping
+behind him, clutching the money bags, represents that Greed who, as
+Mammon, is seen sitting on his throne of death. &quot;Mammon&quot; is, however,
+the greatest of the three, containing in itself the ideas and forms of
+the other two. It is a terrible picture of the god to whom many bow the
+knee&mdash;&quot;dedicated to his worshippers.&quot; His leaden face shows a
+consciousness of power, but not happiness arising from power; his dull
+eyes see nothing, though his mind's eye sees one thing clearly&mdash;the
+money bags on his lap. The two frail creatures of youth and maiden,
+&quot;types of humanity&quot; as Watts said, are crushed by his heavy limbs, while
+behind a fire burns continuously, perhaps also within his massive
+breast.</p>
+
+<p><i>Portraits</i>.&mdash;In portraiture, as in other forms of art, Watts had
+distinct and peculiar views. He gradually came to the opinion, which he
+adopted as his first rule in portraiture, that it was his duty, not
+merely to copy the external features of the sitter, but to give what
+might be called an intellectual copy. He declared it to be possible and
+necessary for the sitter and painter to attain a unity of feeling and a
+sympathy, by which he (the painter) was inspired. Watts' earlier
+portraits, while being far from characterless, are not instances of the
+application of this principle. There is in them a slight tendency to
+eighteenth-century ideal portraiture, which so often took the sitter
+(and the observer too) back to times and attitudes, backgrounds and
+thunderstorms, that never were and never will be.</p>
+
+<p>Watts, however, was slightly influenced by the Pre-Raphaelite school. He
+might, had he wished, have been their portrait painter&mdash;and indeed, the
+picture of the comely Mrs. Hughes, a kind, motherly creature, with a
+background of distant fields, minutely painted, is quite on the lines of
+Pre-Raphaelite realism.</p>
+
+<br />
+<br />
+
+<a name="image-8"><!-- Image 8 --></a>
+<p class="center">
+<a href="images/image-8.jpg" target="_blank">
+<img border="0" src="images/image-8.jpg" height="900" width="515" alt="LOVE TRIUMPHANT" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE VI.&mdash;LOVE TRIUMPHANT</p>
+<p class="center">(At the Tate Gallery)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">Time and Death having travelled together through the ages,
+     have run their course and are at length overthrown. Love alone
+     arises on immortal wings, triumphantly, with outspread arms to
+     the eternal skies.</p>
+
+<p style="{text-indent: 0cm}">Given to the nation in 1900.</p></div>
+
+<br />
+
+<p>Somewhat of the same character is the portrait of Mrs. Nassau Senior,
+who, with one knee on a sofa, is shown tending flowers, her rippling
+golden hair falling over her shoulders. A full-length portrait of Miss
+Mary Kirkpatrick Brunton, dated 1842, also belongs to the old style.
+Watts had a passion for human loveliness, and in his day some of the
+great beauties sat to him. The &quot;Jersey Lily&quot; (Mrs. Langtry) with her
+simple headdress and downcast eye, appeared at the Academy of 1879.
+&quot;Miss Rachel Gurney&quot; is a wonderful portrait of a flaming soul
+imprisoned in a graceful form and graceless dress. Miss Gurney is shown
+standing, turning slightly to the right with the head again turned over
+the right shoulder, while the whole effect of energy seems to be
+concentrated in the flashing eyes. Watts was able to interpret equally
+well personalities of a very different character, and perhaps the canvas
+representing Miss Edith Villiers is one of the most successful of his
+spiritual portraits. Miss Dorothy Dene, whose complexion Watts was one
+of the first to transfer to canvas, Miss Mary Anderson, and Miss Dorothy
+Maccallum, were all triumphantly depicted. He will be known, however, as
+the citizen portrait-painter of the nineteenth century, who preserved
+for us not merely the form, but the spirit of some of the greatest men
+of his day. Lord Tennyson sat three times. In 1859 the poet was shown in
+the prime of life, his hair and beard ruffled, his look determined. In
+1864 we had another canvas&mdash;&quot;the moonlight portrait&quot;; the face is
+that of Merlin, meditative, thoughtful. As you look at it the features
+stand out with great clearness, the distance of the laurels behind his
+head can be estimated almost precisely, while seen through them is the
+gleam of the moon upon the distant water. The 1890 portrait, in
+scholastic robes, with grizzled beard, and hair diminished, is Tennyson
+the mystic, and reminds us of his &quot;Ancient Sage&quot;&mdash;</p>
+
+<div class='poem'><div class='stanza'>
+<span class='i4'>&quot;... for more than once when I<br /></span>
+<span>Sat all alone, revolving in myself<br /></span>
+<span>The word that is the symbol of myself,<br /></span>
+<span>The Mortal limit of the self was loosed<br /></span>
+<span>And passed into the Nameless, as a cloud<br /></span>
+<span>Melts into heaven.&quot;<br /></span>
+</div></div>
+
+<p>The portrait of John L. Motley, the American Minister to England in
+1869, and author of &quot;The Rise of the Dutch Republic,&quot; is one of the most
+successful paintings of handsome men; Watts here depicts perfectly the
+&quot;spiritual body&quot; of strength, purity, and appeal; the eyes are deepest
+blue, and the hair the richest brown. In this case the artist has, as he
+was so prone, fallen into symbolism even in portraiture, for we can
+trace in the background a faint picture of an old-time fighting ship.</p>
+
+<p>Another classic portrait, so different to that by Whistler, is of Thomas
+Carlyle. The sage of Chelsea sits ruffled and untidy, with his hands
+resting on the head of a stick, and his features full of power. He seems
+protesting against the few hours' idleness, and anxious to get back to
+the strenuous life. The sitter was good enough to say that the portrait
+was of &quot;a mad labourer&quot;&mdash;not an unfair criticism of a very good
+portrait.</p>
+
+<p><i>The Biblical Paintings</i> are, as before said, in partial fulfilment of
+the frustrated scheme of &quot;Cosmos.&quot; &quot;Eve Repentant,&quot; in an attitude so
+typical of grief, is perhaps the most beautiful; it is one of a trilogy,
+the others being &quot;She shall be called Woman,&quot; and &quot;Eve Tempted.&quot; It is
+singular that in these three canvases the painter avoids the attempt to
+draw the face of the mother of the race. In the first the face is
+upturned, covered in shadow; in the second it is hid from view by the
+leaves of the forbidden tree, while in the third Eve turns her back and
+hides her weeping face with her arms. This habit of Watts to obscure the
+face is observed in &quot;The Shuddering Angel,&quot; Judgment in &quot;Time, Death,
+and Judgment,&quot; in &quot;Love and Death,&quot; &quot;Sic Transit,&quot; &quot;Great Possessions,&quot;
+and some others. Often indeed a picture speaks as much of what is not
+seen as of what is seen.</p>
+
+<p>Incidents from the Gospels are represented by &quot;The Prodigal,&quot; where the
+outcast is seen crouching on the ground, his face fixed on vacuity,
+almost in the act of coming to himself. &quot;For he had Great Possessions,&quot;
+is, however, the greatest and simplest of all. There the young man who
+went away sorrowful with bowed head, scarcely knowing what he has lost,
+is used by Watts as one of his most powerful criticisms of modern life.
+Although the incident is a definite isolated one, yet the costume,
+figure, chain of office, and jewelled fingers, clutching and releasing,
+are of no time or land in particular.</p>
+
+<p>It is not a little remarkable that Watts, who had breathed so deeply the
+air of Italy, and had almost lived in company of Titian and Raphael,
+should never have attempted the figure of Christ or His apostles. This
+was, however, not without reason. His pictures were not only &quot;for all
+time,&quot; but apart from time altogether. His only specific reference to
+Christianity is his beautiful canvas, &quot;The Spirit of Christianity,&quot; in
+which he rebuked the Churches for their dissensions. A parental figure
+floats upon a cloud while four children nestle at her feet. The earth
+below is shrouded in darkness and gloom, despite the steeple tower
+raising its head above a distant village. The rebuke was immediately
+stimulated by the refusal of a certain church to employ Watts when the
+officials found he was not of their faith. In this picture Watts
+approached nearest to the Italian Madonnas both in form and colour.</p>
+
+<p><i>The Mythical Paintings</i> are, in the main, earlier than the Biblical
+series, but even here the same note of teaching is struck, and our human
+sympathies are drawn out towards the figure depicted. In one, &quot;Echo&quot;
+comes to find her lover transformed into a flower; in another, &quot;Psyche,&quot;
+through disobedience, has lost her love. She gazes regretfully at a
+feather fallen from Cupid's wing; it is a pink feather, such as might be
+taken from the plumage of the little Lord of Love who vainly opposes
+Death in his approach to the beloved one. In &quot;Psyche,&quot; Watts has made
+the pale body expressive of abject loss; there is no physical effort,
+except in the well-expanded feet, and no other thought but lost love.</p>
+
+<p>The legend of &quot;Diana and Endymion&quot; was painted three times&mdash;&quot;good,
+better, best.&quot; A shepherd loved the Moon, who in his sleep descends from
+heaven to embrace him. The canvas of 1903 must be regarded as the final
+success&mdash;the sleeping figure is more asleep, his vision more dreamlike
+and diaphanous. &quot;Orpheus and Eurydice&quot; (painted three times) is perhaps
+the greatest of his classical pictures. It is one of the few
+compositions that were considered by its author as &quot;finished.&quot; Here
+again the lover through disobedience loses his love; the falling figure
+of Eurydice is one of the most beautiful and realistic of all the series
+of Watts' nudes, and the agony of loss, the energy of struggle, are
+magnificently drawn in the figure of Orpheus. Looking at the canvas, one
+recalls the lines of the old Platonic poet-philosopher Bo&euml;thius:</p>
+
+<div class='poem'><div class='stanza'>
+<span>&quot;At length the shadowy king,<br /></span>
+<span>His sorrows pitying,<br /></span>
+<span>'He hath prevailed!' cried;<br /></span>
+<span>'We give him back his bride!<br /></span>
+<span>To him she shall belong,<br /></span>
+<span>As guerdon of his song.<br /></span>
+<span>One sole condition yet<br /></span>
+<span>Upon the boon is set;<br /></span>
+<span>Let him not turn his eyes<br /></span>
+<span>To view his hard-won prize,<br /></span>
+<span>Till they securely pass<br /></span>
+<span>The gates of Hell.' Alas!<br /></span>
+<span>What law can lovers move?<br /></span>
+<span>A higher law is love!<br /></span>
+<span>For Orpheus&mdash;woe is me!&mdash;<br /></span>
+<span>On his Eurydice&mdash;<br /></span>
+<span>Day's threshold all but won&mdash;<br /></span>
+<span>Looked, lost, and was undone!&quot;<br /></span>
+</div></div>
+
+<p>In &quot;The Minotaur,&quot; that terrible creature, half man, half bull, crushing
+with his hideous claw the body of a bird, stands ever waiting to consume
+by his cruel lust the convoy of beauteous forms coming unseen and
+unwilling over the sea to him. It is an old myth, but Watts intended it
+for a modern message. The picture was painted by him in the heat of
+indignation in three hours.</p>
+
+<p>A small but very important group of paintings, which I call &quot;The
+Pessimistic Series,&quot; begins with &quot;Life's Illusions,&quot; painted in 1849.
+&quot;It is,&quot; says Watts, &quot;an allegorical design typifying the march of human
+life.&quot; Fair visions of Beauty, the abstract embodiments of divers forms
+of Hope and Ambition, hover high in the air above the gulf which stands
+as the goal of all men's lives. At their feet lie the shattered symbols
+of human greatness and power, and upon the narrow space of earth that
+overhangs the deep abyss are figured the brighter forms of illusions
+that endure through every changing fashion of the world. A knight in
+armour pricks on his horse in quick pursuit of the rainbow-tinted bubble
+of glory; on his right are two lovers; on his left an aged student still
+pores over his work by the last rays of the dying sun; while in the
+shadow of the group may be seen the form of a little child chasing a
+butterfly.</p>
+
+<p>This picture has the merit, along with &quot;Fata Morgana,&quot; of combining the
+teaching element with one of the finest representations of woman's form
+that came from Watts' brush. He was one of those who vigorously defended
+the painting of the nude. These are some of his words:</p>
+
+<div class='blkquot'><p>&quot;One of the great missions of art&mdash;the greatest indeed&mdash;is to
+     serve the same grand and noble end as poetry by holding in
+     check that natural and ever-increasing tendency to hypocrisy
+     which is consequent upon and constantly nurtured by
+     civilisation. My aim is now, and will be to the end, not so
+     much to paint pictures which are delightful to the eye, but
+     pictures which will go to the intelligence and the
+     imagination, and kindle there what is good and noble, and
+     which will appeal to the heart. And in doing this I am forced
+     to paint the nude.&quot; </p></div>
+
+<p>&quot;Fata Morgana&quot; is a picture of Fortune or Opportunity pursued and lost
+by an ardent horseman. It was painted twice, first in the Italian style,
+and again in what must be called Watts' own style&mdash;much the finer
+effort. This picture shows us what, in the artist's view, man in this
+mortal life desires, pursues, and mostly loses. Fortune has a lock of
+hair on her forehead by which alone she may be captured, and as she
+glides mockingly along, she leads her pursuers across rock, stream,
+dale, desert, and meadow typical of life. The pursuit of the elusive is
+a favourite theme with Watts, and is set forth by the picture
+&quot;Mischief.&quot; Here a fine young man is battling for his liberty against an
+airy spirit representing Folly or Mischief. Humanity bends his neck
+beneath the enchanter's yoke&mdash;a wreath of flowers thrown round his
+neck&mdash;and is led an unwilling captive; as he follows the roses turn to
+briars about his muscular limbs, and at every step the tangle becomes
+denser, while one by one the arrows drop from his hand. The thought of
+&quot;Life's Illusions&quot; and &quot;Fata Morgana&quot; is again set forth in &quot;Sic Transit
+Gloria Mundi,&quot; where we see the body of a king whose crown, and all that
+represents to him the glory of the world, is left at death. It is not,
+however, in Watts' conception essential glory that passes away, but the
+<i>Glory of the World</i>. Upon the dark curtain that hangs behind the
+shrouded figure are words that represent his final wisdom, &quot;What I
+spent, I had; what I saved, I lost; what I gave, I have.&quot;</p>
+
+<br />
+<br />
+
+<a name="image-9"><!-- Image 9 --></a>
+<p class="center">
+<a href="images/image-9.jpg" target="_blank">
+<img border="0" src="images/image-9.jpg" height="900" width="655" alt="THE GOOD SAMARITAN" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE VII.&mdash;THE GOOD SAMARITAN</p>
+<p class="center">(At the Manchester Art Gallery)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">This is an early picture, painted in the year 1852 and
+     presented to the city of Manchester by the artist in honour of
+     the prison philanthropist, a native of that city. </p></div>
+
+<br />
+
+<p>These I call &quot;Pessimistic paintings,&quot; because they represent the true
+discovery ever waiting to be made by man, that the sum total of all that
+can be gained in man's external life&mdash;wealth, fame, strength, and
+power&mdash;that these inevitably pass from him. To know this, to see it
+clearly, to accept it, is the happiness of the pessimist, who
+thenceforward fixes his hope and bends his energies to the realisation
+of other and higher goods. In this he becomes an optimist, for this is
+the pursuit, as Watts never ceases to teach, in which man can and does
+attain his goal. Thus our prophet-painter, having seen and known and
+felt all this, having tested it in the personal and intimate life,
+brings to a triumphant close his great series, where positive rather
+than negative teaching is given.</p>
+
+<p><i>The Great Realities</i>.&mdash;We have seen in &quot;Chaos&quot; primordial matter; we
+have now from Watts' brush the origin of things on the metaphysical
+side. In &quot;The All-pervading,&quot; there sits the Spirit of the Universe,
+holding in her lap the globe of the systems, the representation of the
+last conclusions of philosophy. This mysterious picture is very low in
+tone, conforming to Watts' rule to make the colouring suit the subject.
+Here there is nothing hard or defined; the spirit of the universe is
+merely suggested or hinted at, his great wings enclose all. The
+elliptical form of this composition is seen again in &quot;Death Crowning
+Innocence&quot; and &quot;The Dweller in the Innermost,&quot; and the same expressive
+indefiniteness and lowness of the colour tones. In the latter effort we
+have the figure of Conscience, winged, dumb-faced and pensive, seated
+within a glow of light. On her forehead is the shining star, and in her
+lap the arrows which pierce through all disguises, and a trumpet that
+proclaims peace to the world. Here, therefore, is the greatest reality
+from the psychological side. We have also cosmical paintings
+representing &quot;Evolution,&quot; &quot;Progress,&quot; the &quot;Slumber of the Ages,&quot; and
+&quot;Destiny,&quot; all of them asking and answering; not indeed finally and
+dogmatically, but as Watts desired that his pictures should do,
+stimulating in the observer both the asking and the answering faculty.
+In &quot;Faith&quot; we have a companion to &quot;Hope.&quot; Wearied and saddened by
+persecutions, she washes her blood-stained feet in a running stream, and
+recognising the influence of Love in all the beauty of Nature, she feels
+that the sword is not the best argument, and takes it off. The colouring
+of this picture is rich and forcible, the maroon robe of the figure
+being one of Watts' favourite attempts.</p>
+
+<p>A satisfying picture of a little child emerging from the latest wave on
+the shore of humanity's ocean, asks the question, <i>Whence and Whither</i>.
+I reserve for &quot;Hope&quot; the final word (see Plate III.). If, as I said, the
+optimism which is spiritual and ideal springs from the pessimism which
+is material and actual, so too does Hope grow from the bosom of
+Despair. This the picture shows. Crouching on the sphere of the world
+sits the blindfold figure of a woman, bending her ear to catch the music
+of one only string preserved on her lyre. When everything has failed,
+there is Hope; and Hope looks, in Watts' teaching, for that which cannot
+fail, but which is ever triumphant, namely, Love.</p>
+
+<p><i>The Love Series</i>.&mdash;According to Watts, Love steers the boat of
+humanity, who is seen in one of his canvases tossed about and almost
+shipwrecked. Love does not do this easily, but he does it. Love, as a
+winged youth, also guides Life, a fragile maiden, up the rocky
+steep&mdash;Life, that would else fail and fall. Violets spring where Love
+has trod, and as they ascend to the mountain top the air becomes more
+golden. This picture, &quot;Love and Life&quot; (see Plate V.) was painted four
+times. &quot;Love and Death,&quot; painted three times, represents the
+irresistible figure of Death tenderly, yet firmly, entering a door where
+we know lies the beloved one. This is an eternal theme, suggested, I
+believe, by a temporal incident&mdash;the death of a young member of the
+Prinsep family. Love vainly pushes back the imperious figure; the
+protecting flowers are trodden down and the dove mourns; and with it all
+we feel that though Love fears Death, yet Death respects Love. Just as
+&quot;Love and Death&quot; are companion pictures and tell complementary truths,
+so &quot;Time, Death, and Judgment&quot; is related to &quot;Love Triumphant&quot; (see
+Plate VI.). In the one we see Time, represented by a mighty youth half
+clad in a red cloak, striding along with great vigour. His companion,
+whom he holds by the hand, is Death, the sad mother with weary, downcast
+eye and outspread lap ready to receive her load; but with neither of
+them is the final word, for Judgment, poised in the clouds, wields his
+fiery sword of eternal law and holds the balance before his hidden face.
+In &quot;Love Triumphant&quot; Love takes the place of, and transcends Judgment.
+Time and Death having travelled together through the ages, are in the
+end overthrown, and Love alone rises on immortal wings. Thus the stoical
+painter reaches his greatest height&mdash;tells his best truth.</p>
+
+<p><i>The Death Series</i>.&mdash;As may be expected, Death has no terrors for the
+fundamental Watts. Never once does Death look with hollow eyes and
+sunken cheeks, or grasp with bony fingers at the living. In &quot;Death
+Crowning Innocence,&quot; as a mother she puts her halo on the infant
+Innocence, whom she claims. Death holds a Court to which all must
+go&mdash;priest, soldier, king, cripple, beautiful woman, and young child.
+The lion must die, the civilisation be overthrown, wealth, fame, and
+pride must be let go&mdash;so Watts shows in his &quot;Court of Death&quot;; all come
+to the end of the book marked <i>Finis</i>. Death is calm and majestic, with
+angel wings, and overhead are the figures of Silence and Mystery,
+guarding, but partially revealing what is beyond the veil&mdash;sunrise and
+the star of hope; while even in the lap of Death nestles a new-born
+babe&mdash;the soul passing into new realms through the gates of Death.</p>
+
+<p>Again, Death is <i>the Messenger</i> who comes, not to terrify, but as an
+ambassador to call the soul away from this alien land, quietly touching
+the waiting soul with the finger-tips. In the beautiful &quot;Paolo and
+Francesca&quot; the lovers are seen as Dante told of them; wafted along by
+the infernal wind; of them he spoke:</p>
+
+<div class='poem'><div class='stanza'>
+<span class='i6'>&quot;... Bard! Willingly<br /></span>
+<span>I would address these two together coming,<br /></span>
+<span>Which seem so light before the wind.&quot;<br /></span>
+</div></div>
+
+<p>Francesca's reply to Dante is of Love and Death:</p>
+
+<div class='poem'><div class='stanza'>
+<span>&quot;Love, that in gentle heart is quickly learnt,<br /></span>
+<span>Entangled him by that fair form...;<br /></span>
+<span>Love, that denial takes from none beloved,<br /></span>
+<span>Caught me with pleasing him so passing well,<br /></span>
+<span>That as thou seest, he yet deserts me not.<br /></span>
+<span>Love brought us to one death.&quot;<br /></span>
+</div></div>
+
+<br />
+
+<p>Watts has admirably caught the sweetness and sorrow of this situation in
+his beautiful picture, which, again, is one of the very few he
+considered finally &quot;finished.&quot; It is almost a monochrome of blues and
+greys.</p>
+
+<p>In &quot;Time and Oblivion,&quot; one of the earliest of the symbolical paintings,
+Time is again the stalwart man of imperishable youth, while Oblivion,
+another form of Death, spreads her mantle of darkness over all, claiming
+all.</p>
+
+<p><i>Landscapes</i>.&mdash;Although Watts will ever be remembered for his
+allegorical, biblical, and portrait painting, yet he was by no means
+deficient in landscape art. Indeed, he carried into that branch of work
+his peculiar personality. Not only do his landscapes depict beautiful
+scenery in a fitting manner, joining atmosphere, sunshine, and colour,
+but they convey in an extraordinary degree the mood of Nature and of
+Man. &quot;The Sphinx by Night&quot; has an air of mystery about it that
+immediately impresses the spectator, and tells him something that cannot
+be communicated by words. The Italian and the Asiatic canvases by Watts,
+&quot;Florence,&quot; &quot;Fiesole,&quot; &quot;Correna,&quot; &quot;Cos,&quot; and &quot;Asia Minor,&quot; all induce
+the feeling of repose and happiness, and the message that Nature sends
+to her devotees comes sweetly and calmly in &quot;The Rainbow,&quot; where we look
+over an extensive valley from high ground, while heavy clouds and the
+rainbow adorn the upper air. In &quot;The Cumulus&quot; we &quot;see skyward great
+cloud masses rolling, silently swelling and mixing.&quot; They recall perhaps
+the memories of the child, to whom the mountains of the air are a
+perpetual wonder. When in Savoy in 1888, Watts painted the Alps, again
+with a cloudy sky and a rocky foreground. In this the quietude of the
+scene penetrates the beholder. English landscape, to which all true
+hearts return, was successfully depicted, both in form and spirit, by
+Watts' &quot;Landscape with Hayricks&quot; (like the Brighton Downs), a quiet
+view from the summit of a hillside, on which are seen some hayricks. But
+perhaps the highest of them all is that very peaceful idyll named &quot;All
+the air a solemn stillness holds.&quot; It was a view from the garden of
+Little Holland House. The time is sunset; a man and two horses are
+wending their way home. There are farm buildings on the left, and a
+thick wood in the background. In this one we feel how thoroughly Watts
+uses all forms as expressions of his invisible moods. In purely
+imaginative landscape, however, Watts struck his highest note. His
+&quot;Deluge&quot; canvases are wonderful attempts; in &quot;The Dove that returned in
+the Evening,&quot; the bird is the only creature seen flying across the
+dreary waste of waters, placid but for three long low waves. On the
+horizon the artist has dimly suggested the ark of Noah. &quot;Mount Ararat&quot;
+is especially worthy of mention among the landscapes.</p>
+
+<br />
+<br />
+
+<a name="image-10"><!-- Image 10 --></a>
+<p class="center">
+<a href="images/image-10.jpg" target="_blank">
+<img border="0" src="images/image-10.jpg" height="900" width="615" alt="PRAYER" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE VIII.&mdash;PRAYER</p>
+<p class="center">(At the Manchester Art Gallery)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">This is one of the most simple and beautiful of Watts' early
+     works. The young woman is kneeling at the table, book in hand,
+     her mind absorbed in thoughts of reverence. Painted in 1860. </p></div>
+
+<br />
+
+<p>Before Watts entered upon his series of great imaginative paintings he
+had used realism for didactic purposes. In those days his work was less
+rugged than in later times, and had a delicateness and refinement which
+is seen to perfection in some of his earlier portraits. A few of these
+efforts may be mentioned. &quot;Study&quot; is the bust of a girl, with long red
+hair, looking upwards; it represents a beautiful combination of
+spirituality and human affection. &quot;The Rain it raineth every day&quot; is a
+picture of ennui and utter weariness, beautifully and sympathetically
+expressed. The colouring is very brave. In &quot;Prayer&quot; (see Plate VIII.)
+the simplicity of the treatment may lead any one to pass it by as
+something slight and conventional, but it is perhaps one of the greatest
+of this type where simplicity and spirituality are combined. In
+&quot;Choosing&quot; Watts approached very near to the summit of simplicity and
+charm. A golden-haired girl is choosing a camellia blossom; but where
+all are so beautiful it is difficult for her to decide. Great interest
+in this picture lies in the fact that it was painted in 1864, and was
+drawn from Watts' young bride Miss Ellen Terry. One is almost tempted to
+find in this picture the germ of allegory which grew to such heights in
+the artist's later efforts.</p>
+
+<p><i>The Warrior Series</i>.&mdash;Watts, like Ruskin and many other of the
+nineteenth-century philosophic artists, idealised warfare. His warriors
+are not clad in khaki; they do not crouch behind muddy earthworks. They
+are of the days before the shrapnel shell and Maxim gun; they wear
+bright steel armour, wield the sword and lance, and by preference they
+ride on horseback. Indeed, they are of no time or country, unless of the
+house of Arthur and the land of Camelot.</p>
+
+<p>We are thus able to understand the characteristic of Watts' warrior
+pictures. The first is &quot;Caractacus,&quot; the British chief; though no
+Christian, he is the earliest of Watts' heroes. The second is the
+beautiful &quot;Sir Galahad,&quot; whose strength was as the strength of ten,
+because his heart was pure. We see a knight standing bare-headed at the
+side of his white horse, gazing with rapt eyes on the vision of the Holy
+Grail, which in the gloom and solitude of the forest has suddenly dawned
+on his sight. The features of young Arthur Prinsep, with his bushy hair,
+who later became a general in the British army, can be detected in this
+wonderful and simple picture. Its composition is like a stained-glass
+window. It is of all Watts' perhaps the nearest to mysticism, and at the
+same time it is an appeal to the young to be like Sir Galahad. The
+original is in Eton College Chapel.</p>
+
+<p>In 1863 followed &quot;The Eve of Peace,&quot; in which we see a warrior of middle
+age, much like Watts himself at that time, who has lost the passion for
+warfare, sheathing his sword, glad to have it all over. The peacock
+feather that is strewn on the floor of &quot;The Court of Death,&quot; and lies by
+the bier in &quot;Sic Transit,&quot; is fastened to the warrior's casque.
+&quot;Aspiration,&quot; also taken from young Prinsep (1866), is a picture of a
+young man in the dawn of life's battle, who, wishing to be a
+standard-bearer, looks out across the plain. He sees into the great
+possibilities of human life, and the ardent spirit of life is sobered by
+the burden of responsibilities. &quot;Watchman, what of the Night?&quot; is
+another wonderful composition, representing a figure with long hair,
+clad in armour, looking out into the darkness of the night, with his
+hand grasping the hilt of the sword. The colour, low in tone, and the
+whole composition, indicate doubt and yet faith. Ellen Terry was the
+model for this painting.</p>
+
+<p>&quot;The Condottiere&quot; represents the fighting spirit of the Middle Ages.
+This soldier is, like the others, clad in armour, and is not likely to
+have a vision of the Holy Grail. His features represent the
+determination and vigour which were required of him in those ferocious
+days. &quot;The Red Cross Knight accompanying Una&quot; is a charming picture,
+representing an incident in Spenser's &quot;Fa&euml;ry Queen,&quot; but the palm must
+be given to &quot;The Happy Warrior,&quot; who is depicted at the moment of death,
+his head falling back, and his helmet unloosed, catching a glimpse of
+some angelic face, who speaks to him in terms of comfort and of peace.
+This picture, of all the others, shows how Watts has insisted on
+carrying to the very highest point of idealism the terrible activities
+of warfare:</p>
+
+<div class='poem'><div class='stanza'>
+<span>&quot;This, the Happy Warrior, this is he,<br /></span>
+<span>That every man in arms should wish to be.&quot;<br /></span>
+</div></div>
+
+<br />
+
+<p>He sent a copy, the original of which is in the Munich Gallery, to Lord
+Dufferin, whose son was killed in the South African War, and he declares
+that many bereaved mothers have thanked him for the inspiration and
+comfort it has brought to them.</p>
+
+<p>Watts' pictures are widely distributed; a roomful may be seen at the
+Tate Gallery, Millbank, S.W. Nearly all the portraits of public men are
+at the National Portrait Gallery, Trafalgar Square, London. There is a
+portrait of Thomas Carlyle in the South Kensington Museum, three or four
+pictures at the Manchester Corporation Gallery, and one at the Leicester
+Art Gallery. There are also several of Watts' best pictures in a gallery
+attached to his country house at Compton in Surrey; while his fresco
+&quot;Justice&quot; can be seen at the Benchers' Hall, Lincoln's Inn.</p>
+
+<p>Watts was conscious of the benefit he had received from the great men
+who had preceded him, and in his best moments so essentially humble,
+that in his last will and testament, and the letters of gift, he rises
+to the great height of artistic patriotism which always appeared to him
+in the light of a supreme duty.</p>
+
+<p>The former document has the following phrases: &quot;I bequeath all my
+studies and works to any provincial gallery or galleries in Great
+Britain or Ireland, which my executors shall in their discretion select,
+and to be distributed between such galleries.&quot; This Will is dated
+November 1, 1899, and relates to such works as had not already been
+disposed of. His great gift to the nation was made in 1897, accompanied
+by a characteristic letter in which he says:</p>
+
+<div class='blkquot'><p>&quot;You can have the pictures any time after next Sunday. I have
+     never regarded them as mine, but never expected they would be
+     placed anywhere until after my death, and only see now my
+     presumption and their defects and shrink from the consequences
+     of my temerity! I should certainly like to have them placed
+     together, but of course can make no conditions. One or two are
+     away, and I am a little uncertain about the sending of some
+     others; if you could spare a moment I should like to consult
+     you.&quot; </p></div>
+
+<p>A few weeks later, following a letter from the Keeper of the National
+Gallery, he writes as follows:</p>
+
+<div class='blkquot'><p>&quot;I beg to thank you and through you the Trustees and Director
+     of the National Gallery for the flattering intention of
+     placing the tablet you speak of, but while returning grateful
+     thanks for the intention of doing me this honour I should like
+     it to be felt that I have in no way desired anything but the
+     recognition that my object in work, and the offering of it,
+     has only been the hope of spending my time and exercising my
+     experience in a worthy manner, leaving to time further
+     judgment. Most certainly I desire that my pictures should be
+     seen to advantage, and have a good effect as an encouragement
+     to artists of stronger fibre and greater vitality, to pursue
+     if only occasionally a similar direction and object.&quot; </p></div>
+
+<br />
+
+<p>At the end of a long life by no means devoid of mistakes and
+disappointments, it would seem as though Watts attained to his desires.
+The man has passed away, while the witness of his aspirations remains.</p>
+
+<br />
+<br />
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 13477 ***</div>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
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+The Project Gutenberg eBook, Watts (1817-1904), by William Loftus Hare
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Watts (1817-1904)
+
+Author: William Loftus Hare
+
+Release Date: September 17, 2004  [eBook #13477]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK WATTS (1817-1904)***
+
+
+E-text prepared by Juliet Sutherland, Jeannie Howse, and the Project
+Gutenberg Online Distributed Proofreading Team
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+Note: Project Gutenberg also has an HTML version of this
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+
+WATTS (1817-1904)
+
+by
+
+W. LOFTUS HARE
+
+Illustrated with Eight Reproductions in Colour
+
+
+
+
+
+
+
+[Illustration: PLATE I.--DEATH CROWNING INNOCENCE
+
+(Frontispiece)
+
+     A little child lying in the lap of the winged figure of Death.
+     Death, ever to Watts a silent angel of pity, "takes charge of
+     Innocence, placing it beyond the reach of evil." It was first
+     exhibited at the Winter Exhibition of the New Gallery, 1896,
+     and was given to the nation in 1897. It is now at the Tate
+     Gallery.]
+
+
+
+
+MASTERPIECES IN COLOUR
+
+EDITED BY T. LEMAN HARE
+
+"MASTERPIECES IN COLOUR" SERIES
+
+ARTIST.              AUTHOR.
+VELAZQUEZ.           S.L. BENSUSAN.
+REYNOLDS.            S.L. BENSUSAN.
+TURNER.              C. LEWIS HIND.
+ROMNEY.              C. LEWIS HIND.
+GREUZE.              ALYS EYRE MACKLIN.
+BOTTICELLI.          HENRY B. BINNS.
+ROSSETTI.            LUCIEN PISSARRO.
+BELLINI.             GEORGE HAY.
+FRA ANGELICO.        JAMES MASON.
+REMBRANDT.           JOSEF ISRAELS.
+LEIGHTON.            A. LYS BALDRY.
+RAPHAEL.             PAUL G. KONODY.
+HOLMAN HUNT.         MARY E. COLERIDGE.
+TITIAN.              S.L. BENSUSAN.
+MILLAIS.             A. LYS BALDRY.
+CARLO DOLCI.         GEORGE HAY.
+GAINSBOROUGH.        MAX ROTHSCHILD.
+TINTORETTO.          S.L. BENSUSAN.
+LUINI.               JAMES MASON.
+FRANZ HALS.          EDGCUMBE STALEY.
+VAN DYCK.            PERCY M. TURNER.
+LEONARDO DA VINCI.   M.W. BROCKWELL.
+RUBENS.              S.L. BENSUSAN.
+WHISTLER.            T. MARTIN WOOD.
+HOLBEIN.             S.L. BENSUSAN.
+BURNE-JONES.         A. LYS BALDRY.
+VIGÉE LE BRUN.       C. HALDANE MACFALL.
+CHARDIN.             PAUL G. KONODY.
+FRAGONARD.           C. HALDANE MACFALL.
+MEMLINC.             W.H.J. & J.C. WEALE.
+CONSTABLE.           C. LEWIS HIND.
+RAEBURN.             JAMES L. CAW.
+JOHN S. SARGENT.     T. MARTIN WOOD.
+LAWRENCE.            S.L. BENSUSAN.
+DÜRER.               H.E.A. FURST.
+MILLET.              PERCY M. TURNER.
+WATTEAU.             C. LEWIS HIND.
+HOGARTH.             C. LEWIS HIND.
+MURILLO.             S.L. BENSUSAN.
+WATTS.               W. LOFTUS HARE.
+INGRES.              A.J. FINBERG.
+
+Others in Preparation.
+
+The Publishers have to acknowledge the permission of Mrs.
+Watts to reproduce the series of paintings here included.
+
+
+
+[Illustration: IN SEMPITERNUM.]
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+I. Death crowning Innocence      Frontispiece
+    At the Tate Gallery
+
+II. The Minotaur
+    At the Tate Gallery
+
+III. Hope
+    At the Tate Gallery
+
+IV. Thomas Carlyle
+    At the South Kensington Museum
+
+V. Love and Life
+    At the Tate Gallery
+
+VI. Love Triumphant
+    At the Tate Gallery
+
+VII. The Good Samaritan
+    At the Manchester Art Gallery
+
+VIII. Prayer
+    At the Manchester Art Gallery
+
+
+[Illustration]
+
+
+
+
+I
+
+A BIOGRAPHICAL OUTLINE
+
+
+In July of 1904 the eighty-seven mortal years of George Frederick Watts
+came to an end. He had outlived all the contemporaries and acquaintances
+of his youth; few, even among the now living, knew him in his middle
+age; while to those of the present generation, who knew little of the
+man though much of his work, he appeared as members of the Ionides
+family, thus inaugurating the series of private and public portraits for
+which he became so famous. The Watts of our day, however, the teacher
+first and the painter afterwards, had not yet come on the scene. His
+first aspiration towards monumental painting began in the year 1843,
+when in a competition for the decoration of the Houses of Parliament he
+gained a prize of £300 for his cartoon of "Caractacus led Captive
+through the Streets of Rome." At this time, when history was claiming
+pictorial art as her servant and expositor, young Watts carried off the
+prize against the whole of his competitors. This company included the
+well-known historical painter Haydon, who, from a sense of the
+impossibility of battling against his financial difficulties, and from
+the neglect, real or fancied, of the leading politicians, destroyed
+himself by his own hand.
+
+The £300 took the successful competitor to Italy, where for four years
+he remained as a guest of Lord Holland. Glimpses of the Italy he gazed
+upon and loved are preserved for us in a landscape of the hillside town
+of Fiesole with blue sky and clouds, another of a castellated villa
+and mountains near Florence, and a third of the "Carrara Mountains
+near Pisa"; while of his portraiture of that day, "Lady Holland" and
+"Lady Dorothy Nevill" are relics of the Italian visit.
+
+[Illustration: PLATE II.--THE MINOTAUR
+
+     In this terrible figure, half man, half bull, gazing over the
+     sea from the battlement of a hill tower, we see the artist's
+     representation of the greed and lust associated with modern
+     civilisations. The picture was exhibited at the Winter
+     Exhibition of the New Gallery, 1896, and formed part of the
+     Watts Gift in 1897. It hangs in the Watts Room at the Tate
+     Gallery.]
+
+Italy, and particularly Florence, was perpetual fascination and
+inspiration to Watts. There he imbibed the influences of Orcagna and
+Titian--influences, indeed, which were clearly represented in the next
+monumental painting which he attempted. It came about that Lord Holland
+persuaded his guest to enter a fresh competition for the decoration of
+the Parliament Houses, and Watts carried off the prize with his "Alfred
+inciting the Saxons to resist the landing of the Danes." The colour and
+movement of the great Italian masters, conspicuously absent from the
+"Caractacus" cartoon, were to be seen in this new effort, where, as has
+been said, the English king stands like a Raphaelesque archangel in the
+midst of the design.
+
+In 1848 Watts had attained, one might almost say, the position of
+official historical painter to the State, a post coveted by the
+unfortunate Haydon; and he received a commission to paint a fresco of
+"St. George overcomes the Dragon," which was not completed till 1853.
+In this year he contributed as an appendix to the Diary of Haydon--in
+itself an exciting document, showing how wretched the life of an
+official painter then might be--a note telling of the state of
+historical and monumental painting in the 'forties, and of his own
+attitude towards it; a few of his own words, written before the days of
+the "poster," may be usefully quoted here:
+
+     ON THE PUBLIC EMPLOYMENT OF ARTISTS
+
+     Patriots and statesmen alike forget that the time will come
+     when the want of great art in England will produce a gap sadly
+     defacing the beauty of the whole national structure....
+
+     Working, for example, as an historian to record England's
+     battles, Haydon would, no doubt, have produced a series of
+     mighty and instructive pictures....
+
+     Why should not the Government of a mighty country undertake
+     the decoration of all the public buildings, such as Town
+     Halls, National Schools, and even Railway Stations....
+
+     ... Or considering the walls as slates whereon the school-boy
+     writes his figures, the great productions of other times might
+     be reproduced, if but to be rubbed out when fine originals
+     could be procured; for the expense would very little exceed
+     that of whitewashing....
+
+     If, for example, on some convenient wall the whole line of
+     British sovereigns were painted--were monumental effigies
+     well and correctly drawn, with date, length of reign,
+     remarkable events written underneath, these worthy objects
+     would be attained--intellectual exercise, decoration of space,
+     and instruction to the public.
+
+The year 1848 was a critical time for Watts; his first allegorical
+picture, "Time and Oblivion," was painted, and, in the year following,
+"Life's Illusions" appeared on the walls of the famous Academy which
+contained the first works of the Pre-Raphaelite Brotherhood. Watts was
+not of the party, though he might have been had he desired; he preferred
+independence.
+
+Watts' personal life was at this time pervaded by the influence of Lord
+and Lady Holland, who, having returned from Florence to London, had him
+as a constant visitor to Holland House. In 1850 he went to live at The
+Dower House, an old building in the fields of Kensington. There, as a
+guest of the Prinsep family, he set up as a portrait painter. His host
+and family connections were some of the first to sit for him; and he
+soon gained fame in this class of work.
+
+There was a temporary interruption in 1856, when a journey to the East,
+in company with Sir Charles Newton, for the purpose of opening the
+buried Temple of Mausolus at Halicarnassus, gave Watts further insight
+into the old Greek world; and, one cannot but think, stimulated his
+efforts, later so successful, in depicting for us so many incidents in
+classical lore. We have, in a view of a mountainous coast called "Asia
+Minor," and another, "The Isle of Cos," two charming pictorial records
+of this important expedition. The next six years of the artist's life
+were spent as a portrait painter; not, indeed, if one may say so, as a
+professional who would paint any one's portrait, but as a friend, who
+loved to devote himself to his friends.
+
+In pursuance of his principles touching monumental work, Watts engaged
+himself over a period of five years on the greatest and the last of his
+civic paintings--namely, the "Justice; a Hemicycle of Lawgivers," to
+which I shall later refer.
+
+Watts was a man who seems to have enjoyed in a singular degree the great
+privilege of friendship, which while it has its side of attachment, has
+also its side of detachment. Even in his youthful days he never "settled
+down," but was a visitor and guest rather than an attached scholar and
+student at the schools and studies. It is told of him that when just
+about to leave Florence, after a short visit, he casually presented a
+letter of introduction to Lord Holland, which immediately led to a four
+years' stay there, and this friendship lasted for many years after the
+ambassador's return to England. Other groups of friends, represented by
+the Ionides, the Prinseps, the Seniors, and the Russell Barringtons,
+seemed to have possessed him as their special treasure, in whose
+friendship he passed a great part of his life. Two great men, the
+titular chiefs of poetry and painting, were much impressed by him, and
+drew from him great admiration--Tennyson and Leighton; from the latter
+he learned much; in the sphere of music, of which Watts was passionately
+fond, there stands out Joachim the violinist.
+
+Watts used to recall, as the happiest time in his life, his youthful
+days as a choral singer; and he always regretted that he had not become
+a musician. Besides being fond of singing he declared that he constantly
+heard (or felt) mystic music--symphonies, songs, and chorales. Only
+once did he receive a _vision_ of a picture--idea, composition and
+colours--that was "Time, Death, and Judgment." Music, after all, is
+nearer to the soul of the intuitive man than any of the arts, and Watts
+felt this deeply. He also had considerable dramatic talent.
+
+In 1864 some friends found for Watts a bride in the person of Miss Ellen
+Terry. The painter and the youthful actress were married in Kensington
+in February of that year, and Watts took over Little Holland House. The
+marriage, however, was irksome, both to the middle-aged painter and the
+vivacious child of sixteen, whose words, taken from her autobiography,
+are the best comment we possess on this incident:
+
+     "Many inaccurate stories have been told of my brief married
+     life, and I have never contradicted them--they were so
+     manifestly absurd. Those who can imagine the surroundings into
+     which I, a raw girl, undeveloped in all except my training as
+     an actress, was thrown, can imagine the situation.... I
+     wondered at the new life and worshipped it because of its
+     beauty. When it suddenly came to an end I was thunderstruck;
+     and refused at first to consent to the separation which was
+     arranged for me in much the same way as my marriage had
+     been.... There were no vulgar accusations on either side, and
+     the words I read in the deed of separation, 'incompatibility
+     of temper,' more than covered the ground. Truer still would
+     have been 'incompatibility of _occupation_,' and the
+     interference of well-meaning friends.
+
+     "'The marriage was not a happy one,' they will probably say
+     after my death, and I forestall them by saying that it was in
+     many ways very happy indeed. What bitterness there was effaced
+     itself in a very remarkable way." (_The Story of My Life_,
+     1908.)
+
+In 1867, at the age of fifty, without his application or knowledge,
+Watts was made an Associate, and in the following year a full Member, of
+the Royal Academy. Younger men had preceded him in this honour, but
+doubtless Watts' modesty and independence secured for him a certain
+amount of official neglect. The old studio in Melbury Road, Kensington,
+was pulled down in 1868, and a new house was built suited to the painter
+who had chosen for himself a hermit life. The house was built in such a
+way as would avoid the possibility of entertaining guests, and was
+entirely dedicated to work. Watts continued his series of official
+portraits, and many of the most beautiful mythical paintings followed
+this change. Five years later, Watts was found at Freshwater in the Isle
+of Wight, and in 1876 he secured what he had so long needed, the
+sympathetic help and co-operation in his personal and artistic aims, in
+Mr. and Mrs. Russell Barrington, his neighbours.
+
+In 1877 Watts decided, in conformity with his views on patriotic art, to
+give his pictures to the nation, and there followed shortly after, in
+1881 and 1882, exhibitions of his works in Whitechapel and the Grosvenor
+Gallery. A leaflet entitled "What should a picture say?" issued with the
+approval of Watts, in connection with the Whitechapel Exhibition, has a
+characteristic answer to the question put to him.
+
+     "Roughly speaking, a picture must be regarded in the same
+     light as written words. It must speak to the beholder and tell
+     him something.... If a picture is a representation only, then
+     regard it from that point of view only. If it treats of a
+     historical event, consider whether it fairly tells its tale.
+     Then there is another class of picture, that whose purpose is
+     to convey suggestion and idea. You are not to look at that
+     picture as an actual representation of facts, for it comes
+     under the same category of dream visions, aspirations, and we
+     have nothing very distinct except the sentiment. If the
+     painting is bad--the writing, the language of art, it is a
+     pity. The picture is then not so good as it should be, but the
+     thought is there, and the thought is what the artist wanted to
+     express, and it is or should be impressed on the spectator."
+
+In 1886 his pictures were exhibited in New York, where they created a
+great sensation; but incidents connected with the exhibition, and
+criticisms upon it, caused the artist much nervous distress.
+
+[Illustration: PLATE III.--HOPE
+
+(At the Tate Gallery)
+
+     At the first glance it is rather strange that such a picture
+     should bear such a title, but the imagery is perfectly true.
+     The heavens are illuminated by a solitary star, and Hope bends
+     her ear to catch the music from the last remaining string of
+     her almost shattered lyre. The picture was painted in 1885 and
+     given to the nation in 1897. A very fine duplicate is in the
+     possession of Mrs. Rushton.]
+
+It was a peculiar difficulty of his nature which led him to insist, on
+the occasions of the London and provincial exhibitions of his pictures,
+that the borrowers were to make all arrangements with his frame-maker,
+that he should not be called upon to act in any way, and that no
+personal reference should be introduced. Watts always considered himself
+a private person; he disliked public functions and fled from them if
+there were any attempt to draw attention to him. His habits of work were
+consistent with these unusual traits. At sunrise he was at his easel.
+During the hot months of summer he was hard at work in his London
+studio, leaving for the country only for a few weeks during foggy
+weather.
+
+At the age of sixty-nine Watts married Miss Mary Fraser-Tytler, with
+whom he journeyed to Egypt, painting there a study of the "Sphinx," one
+of the cleverest of his landscapes. Three years after his return, he
+settled at Limnerslease, Compton, in Surrey, where he took great
+interest in the attempt to revive industrial art among the rural
+population.
+
+Twice, in 1885 and 1894, the artist refused, for private reasons, the
+baronetcy that other artists had accepted. He lived henceforth and died
+the untitled patriot and artist, George Frederick Watts.
+
+
+
+
+II
+
+THE MAN AND THE MESSENGER
+
+
+Having given in the preceding pages the briefest possible outline of the
+life of Watts as a man amongst men, we are now able to come to closer
+quarters. He was essentially a messenger--a teacher, delivering to the
+world, in such a manner that his genius and temperament made possible,
+ideas which had found their place in his mind. He would have been the
+first to admit that without these ideas he would be less than nothing.
+
+If it were possible to bring together all the external acts of the
+painter's life, his journeyings to and fro, his making and his losing
+friends, we should have insufficient data to enable us to understand
+Watts' message; his great ambitions, his constant failures, his intimate
+experiences, his reflections and determinations--known to none but
+himself--surely these, the internal life of Watts, are the real sources
+of his message? True, he was in the midst of the nineteenth century,
+breathing its atmosphere, familiar with the ideals of its great men,
+doubting, questioning, and hoping with the rest. To him, as to many a
+contemporary stoic, the world was in a certain sense an alien ground,
+and mortal life was to be stoically endured and made the best of. It is
+impossible to believe, however, that this inspiring and prophetic
+painter reproduced and handed on merely that which his time and society
+gave him. His day and his associates truly gave him much; the past and
+his heredity made their contributions; but we must believe that the
+purest gold was fired in the crucible of his inner experience, his joys
+and his sufferings. In him was accomplished that great discovery which
+the philosophers have called Pessimism; he not only saw in other men (as
+depicted in his memorable canvas of 1849), but he experienced in himself
+the transitory life's illusions. To Watts, the serious man of fifty
+years, Love and Death, Faith and Hope, Aspiration, Suffering, and
+Remorse, were not, as to the eighteenth-century rhymester, merely Greek
+ladies draped in flowing raiment; to him they were realities, intensely
+focussed in himself. Watts was giving of himself, of his knowledge and
+observation of what Love is and does, and how Death appears so
+variously; and who but a man who knew the melancholy of despair could
+paint that picture "Hope"?
+
+Immediately after the central crisis of his personal life appeared the
+canvas entitled "Fata Morgana," illustrative of a knight in vain pursuit
+of a phantom maiden; and before long there was from his brush the
+pictured story of a lost love, "Orpheus and Eurydice," one of the
+saddest of all myths, but, one feels, no old myth to him.
+
+By a more careful analysis of the artist's work we hope to learn the
+teaching Watts set himself to give, and to ascertain the means that he
+adopted; but one point needs to be made clear at this stage, namely,
+that although Watts was a great teacher, yet he was not a revolutionary.
+The ideals he held up were not new or strange, but old, well-tried, one
+might almost say conventional. They represent the ideals which, in the
+friction and turmoil of ages, have emerged as definite, clear, final.
+They are not disputed or dubious notions, but accepted truisms forgotten
+and neglected, waiting for the day when men shall live by them.
+
+Furthermore, Watts was not in any sense a mystic--neither personally or
+as an artist. "The Dweller in the Innermost" is not the transcendental
+self known to a few rare souls, but is merely conscience, known to all.
+The biblical paintings have no secret meaning assigned to them. The
+inhabitants of Eden, the hero of the Deluge, the Hebrew patriarchs,
+Samson and Satan--all these are the familiar figures of the
+evangelical's Bible. "Eve Repentant" is the woman Eve, the mother of the
+race; "Jacob and Esau" are the brothers come to reconciliation; "Jonah"
+is the prophet denouncing the Nineveh of his day and the Babylon of
+this. The teaching--and there is teaching in every one of them--is plain
+and ethical. So also, with the Greek myths; they teach plainly--they
+hold no esoteric interpretations. Watts is no Neo-Platonist weaving
+mystical doctrines from the ancient hero tales; he is rather a stoic, a
+moralist, a teacher of earthly things.
+
+But we must be careful to guard against the impression of Watts as a
+lofty philosopher consciously issuing proclamations by means of his art.
+Really he was not aware of being a philosopher at all; he was simply an
+artist, an exquisitely delicate and sensitive medium, who, when once
+before his canvas, suddenly filled with his idea, was compelled to say
+his word. If there be any synthesis about his finished work--and no one
+can deny this--it was not because Watts gave days and nights and years
+to "thinking things out." His paintings are, as he used to call them,
+"anthems," brought forth by the intuitive man, the musician. This was
+the fundamental Watts. Whatever unity there be, is due rather to unity
+of inspiration than to strength or definiteness of character and
+accomplishment, and this was sometimes referred to by Watts as a golden
+thread passing through his life--a thread of good intention--which he
+felt would guide him through the labyrinth of distractions, mistakes,
+irritations, ill health, and failures.
+
+One of the striking incidents in the life of Watts was his offer to
+decorate Euston Railway Station with frescoes entitled "The Progress of
+Cosmos." "Chaos" we have in the Tate Gallery, full of suggestiveness and
+interest. We see a deep blue sky above the distant mountains, gloriously
+calm and everlasting; in the middle distance to the left is a nebulous
+haze of light, while in the foreground the rocks are bursting open and
+the flames rush through. Figures of men, possessed by the energy and
+agony of creation, are seen wrestling with the elements of fire and
+earth. One of these figures, having done his work, floats away from the
+glow of the fire across the transparent water, while others of his
+creative family have quite passed the struggling stage of movement and
+are reclining permanent and gigantic to the right of the picture. The
+same idea is repeated in the chain of draped women who are emerging from
+the watery deep; at first they are swept along in isolation, then they
+fly in closer company, next they dance and finally walk in orderly
+procession. But Chaos, for all this, is a unity; of all material forms
+it is the most ancient form; Cosmos however is the long-drawn tale
+beginning with the day when "The Spirit of God brooded on the face of
+the waters." Cosmos might have been Watts' synthetic pictorial
+philosophy; Herbert Spencer with his pen, and he with his brush, as it
+were, should labour side by side. But this was not to be; the Directors
+of the North-Western Railway declined the artist's generous offer, and
+he had to get his "Cosmos" painted by degrees. On the whole, perhaps, we
+should be thankful that the railway company liberated Watts from this
+self-imposed task. We remember that Dante in his exile set out to write
+"Il Convivio," a Banquet of so many courses that one might tremble at
+the prospect of sitting down to it; the four treatises we have are
+interesting, though dry as dust; but if Dante had finished his Banquet,
+he might never have had time for his "Divine Comedy"; so perhaps, after
+all, we shall be well content to be without Watts' "Cosmos," remembering
+what we have gained thereby. Besides, the continuous and spontaneous
+self-revelation of an artist or a poet is sometimes truer than a rigid
+predetermined plan.
+
+[Illustration: PLATE IV.--THOMAS CARLYLE
+
+(At the South Kensington Museum)
+
+     This canvas was painted in 1868, and is the earlier of the two
+     portraits of the famous historian painted by Watts. It formed
+     part of the Foster Bequest. It is interesting to compare this
+     with the painting in the National Portrait Gallery.]
+
+A few words from the pen of the artist, appearing by way of preface to a
+book, "A Plain Handicraft," may here be quoted to indicate the strong
+views Watts took on the "Condition-of-England Question." His interest in
+art was not centred in painting, or sculpture, or himself, or his fellow
+artists. He believed in the sacred mission of art as applied to profane
+things. We see how closely he adheres to the point of view made so
+famous by Ruskin. Both Watts and Ruskin, one feels, belong rather to the
+days of Pericles, when everything was best in the state because the
+citizens gave themselves up to it and to each other. Writing of the
+necessity and utility of reviving Plain Handicrafts among the mass of
+the people, the painter of "Mammon" says:
+
+     "... When the object is to vitalise and develop faculties--the
+     especial inheritance of the human race, but strangely dormant
+     in our time among the largest section of the community--the
+     claim becomes one that cannot be ignored. Looking at the
+     subject from a point of view commanding a wide horizon, it
+     seems to be nothing less than a social demand, rising into a
+     religious duty, to make every endeavour in the direction of
+     supplying all possible compensating consolation for the
+     routine of daily work, become so mechanical and dreary. When
+     home is without charm, and country without attaching bonds,
+     the existence of a nation is rudely shaken; dull discontent
+     leading to sullen discontent, may readily become active
+     animosity. There will not be men interested in the maintenance
+     of law and order, who feel that law and order bring them no
+     perceptible formal advantage. In the race for wealth, it has
+     been forgotten that wealth alone can offer neither dignity nor
+     permanent safety; no dignity, if the man of the population is
+     degraded by dull toil and disgraceful competition; no safety,
+     if large numbers drag on a discontented existence, while the
+     more active and intelligent leave our shores.
+
+     "Whether or not our material wealth is to be increased or
+     diminished, it is certain that a more general well-being and
+     contentment must be striven for. A happy nation will be a
+     wealthy nation, wealthy in the best sense, in the assurance
+     that its children can be depended upon in case of need, wealth
+     above the fortune of war, and safety above the reach of
+     fortune. The rush of interest in the direction of what are
+     understood as worldly advantages, has trampled out the sense
+     of pleasure in the beautiful, and the need of its presence as
+     an element essential to the satisfaction of daily life, which
+     must have been unconsciously felt in ages less absorbed in
+     acquiring wealth for itself alone. In olden times our art
+     congresses would have been as needless as congresses to
+     impress on the general mind the advantages of money-making
+     would be in these." (_Plain Handicraft_, 1892.)
+
+In G.F. Watts, however, we have an instance of a man who, although he
+sees and is attracted by abstract principles of ethics, does not
+perceive the manner of their final application; he is not really
+scientific. It might be thought that the painter of "Greed and Toil,"
+"The Sempstress," "Mammon," "The Dweller of the Innermost," and "Love
+Triumphant," would be able to indicate, in that sphere of social
+activity called "practical politics," how these principles could find
+their expression and realisation. It is interesting, however, to know,
+and to have it authoritatively from his own pen, that Watts at least
+could not discern either the time or the application of these ethical
+principles to the affairs of the great world; for in 1901 there appeared
+from his hand a quasi-philosophical defence of the South African War,
+entitled "Our Race as Pioneers." He said:
+
+     "Inevitable social and political measures claim obedience,
+     which may be at variance with the spiritual and ethical
+     conscience; but there comes in the question of necessity,
+     apparent laws that contest with pure right and wrong; ... and
+     as we must live, nothing remains but commerce; and commerce
+     cannot be carried on without competition, and pushing the
+     limits of our interests. The result of competition can only be
+     conflict--war, unless some other outlet can be found. Commerce
+     will not supply this; its very activity, which is its health
+     and life, will produce the ambition, envy, and jarring
+     interests that will be fatal to peace.... The principle,
+     _Movement_, must have its outlet, its safety valve. This has
+     always been war.... The goddess Trade, the modern Pandora, has
+     in her box all the evils that afflict mankind.... How can
+     Commerce, as understood by the principles of trade, abolish
+     war?"
+
+     "The simple principles of right and wrong are easily
+     defined," and perhaps easily painted; "but the complexity of
+     human affairs and legitimate interests, conducing to the
+     activity demanded by the great law, _Movement_, makes some
+     elasticity necessary, even where there is the most honest
+     desire to be just."
+
+Thus, from his own words, we see how the painter transcends the
+politician; he is a stimulator, he gives hints, not instructions; he is
+commanding, imperative, but he does not show how, nor stay to devise
+ways and means. He even perceives, as he thinks, that though the
+commands of his pictures, "Faith," "Conscience," and "Love Triumphant,"
+be given, yet they cannot be obeyed fully because of "Evolution" and
+"Destiny," or as he calls it "Movement."
+
+To his intimate friends Watts, who was so introspective, often
+complained of "the duality of my nature." In the midst of affairs,
+financial or worldly, on questions of criticism, personal conduct and
+the like, the great artist was variable and uncertain. Though humble and
+self-deprecatory to an extreme degree, he made mistakes from which he
+could escape only with great difficulty; and he suffered much from
+depression and melancholy. This man, however, never appears in the
+pictures; when once in his studio, alone facing his canvas, Watts is
+final, absolute, an undisturbed and undistracted unity, conscious of
+that overwhelming "rightness" known to a Hebrew prophet. Whatever Time
+or Death may have in store for him or any man, there riding swiftly
+above them is Judgment the Absolute One; whatever theories may be spun
+from the perplexed mind of the magazine writer about Expansion and
+Necessity, there sits the terrible "Mammon" pilloried for all time.
+Indeed, he said his pictures were "for all time"; they were from the
+mind and hand of the seer, who, rising from his personality, transcended
+it; and as the personality of dual nature gradually fades away into the
+forgotten past, the Messenger emerges ever more and more clearly,
+leaving his graphic testimonies spread out upon a hundred canvases. It
+might be said as a final estimate that the value and sincerity of Watts'
+work becomes intensified a hundred-fold when we remember that its
+grandeur and dignity, its unity and its calm, was the work of a man who
+seldom, if ever, attained internal peace. Like some who speak wiser than
+they know, so Watts gave himself as an instrument to inspirations of
+which he was not able, through adverse circumstances, to make full use.
+Thus was the Man divided from the Messenger.
+
+[Illustration: PLATE V.--LOVE AND LIFE
+
+(At the Tate Gallery)
+
+     Love, strong in his immortal youth, leads Life, a slight
+     female figure, along the steep uphill path; with his broad
+     wings he shelters her, that the winds of heaven may not visit
+     her too roughly. Violets spring where Love has trod, and as
+     they ascend to the mountain top the air becomes more and more
+     golden. The implication is that, without the aid of Divine
+     Love, fragile Human Life could not have power to ascend the
+     steep path upward. First exhibited at the Grosvenor Gallery in
+     1885. Companion picture to "Love and Death," and "Love
+     Triumphant."]
+
+
+
+
+III
+
+A REVIEW OF WATTS' WORK
+
+
+Failing the "Progress of the Cosmos," we have from the mind and brush of
+Watts a great number of paintings, which may be grouped according to
+their character. Such divisions must not be regarded as rigid or
+official, for often enough a picture may belong to several groups at the
+same time. For the purpose of our survey, however, we divide them as
+follows:
+
+     1. Monumental or Historical Paintings and Frescoes.
+     2. Humanitarian or Social Paintings.
+     3. Portraits, private and public.
+     4. Biblical Paintings.
+     5. Mythical Paintings.
+     6. "Pessimistic" Paintings.
+     7. The Great Realities.
+     8. The Love Series.
+     9. The Death Series.
+     10. Landscapes.
+     11. Unclassified Paintings.
+     12. Paintings of Warriors.
+
+"Caractacus" was the first of the monumental paintings; by them Watts
+appears as a citizen and a patriot, whose insular enthusiasm extends
+backward to the time when the British chief Caractacus fought and was
+subdued by the Romans. He enters also into the spirit of the resistance
+offered to the Danes by King Alfred. George and the Dragon are included
+by him in the historical though mythical events of our race. Undoubtedly
+the most remarkable of Watts' monumental paintings is the fresco
+entitled "Justice; a Hemicycle of Lawgivers," painted for the Benchers'
+Hall in Lincoln's Inn. It is 45 x 40 feet. Here Watts, taking the
+conventional and theoretical attitude, identifies law-making with
+justice, and in his fresco we see thirty-three figures, representing
+Moses, Zoroaster, Pythagoras, Confucius, Lycurgus and his fellow-Greeks,
+Numa Pompilius and other Romans. Here figures also Justinian, the maker
+of the great Code; Mahomet, King Alfred, and even Attila the Hun. The
+painting represents the close of this phase of Watts' work; he received
+a gift of £500 and a gold cup in memory of its achievement. In England,
+at least, no one has ever attempted or accomplished anything in fresco
+of so great dimensions. Watts' monumental genius drove him to sculpture
+on the grand scale also. "Hugh Lupus" for the Duke of Westminster, and
+"Physical Energy," upon which he laboured at intervals during
+twenty-five years of his life, are his great triumphs in this direction.
+It is not the first time that an artist deficient in health and strength
+has made physical energy into a demigod. Men often, perhaps always,
+idealise what they have not. It was the wish of the sculptor to place a
+cast of "Physical Energy" on the grave of Cecil Rhodes on the Matoppo
+Hills in South Africa, indicating how Watts found it possible (by
+idealising what he wished to idealise), to include within the scope and
+patronage of his art, the activities, aims, and interests of modern
+Colonial Enterprise.
+
+_Humanitarian Paintings_.--The earliest of these, "The Wounded Heron,"
+asks our pity for the injured bird, and forbids us to join in the
+enthusiasm of the huntsman who hurries for his suffering prize. The same
+thought is expressed in the beautiful "Shuddering Angel," who is
+covering his face with his hands at the sight of the mangled plumage
+scattered on the altar of fashion. In the large canvases, "A Patient
+Life of Unrequited Toil," and "Midday Rest," we have paintings of
+horses, both of them designed to teach us consideration for the "friend
+of man." "The Sempstress" sings us Tom Hood's "Song of the Shirt."
+
+"The Good Samaritan" (see Plate VII.) properly belongs to this series.
+It was presented by the artist to the citizens of Manchester, as an
+expression of his admiration of Thomas Wright, the prison
+philanthropist, whose work was at that time (1852) creating a sensation
+in the north of England. If we compare this painting with other Biblical
+subjects executed at a later date, we see how much Watts' work has
+gained since then. The almost smooth texture and the dark shadows of the
+Manchester picture have given way to ruggedness and transparency. Still,
+"The Good Samaritan" is simple and excellent in purpose and composition.
+
+A little known painting entitled "Cruel Vengeance," seems to be a
+forecast of "Mammon"; a creature with human form and vulture's head
+presses under his hand a figure like the maiden whose head rests on
+Mammon's knee. In "Greed and Labour" the seer's eye pierces through the
+relations between the worker and his master; Labour is a fine strong
+figure loaded with the implements of his toil, with no feeling of
+subjection in his manly face; on the other hand, the miser creeping
+behind him, clutching the money bags, represents that Greed who, as
+Mammon, is seen sitting on his throne of death. "Mammon" is, however,
+the greatest of the three, containing in itself the ideas and forms of
+the other two. It is a terrible picture of the god to whom many bow the
+knee--"dedicated to his worshippers." His leaden face shows a
+consciousness of power, but not happiness arising from power; his dull
+eyes see nothing, though his mind's eye sees one thing clearly--the
+money bags on his lap. The two frail creatures of youth and maiden,
+"types of humanity" as Watts said, are crushed by his heavy limbs, while
+behind a fire burns continuously, perhaps also within his massive
+breast.
+
+_Portraits_.--In portraiture, as in other forms of art, Watts had
+distinct and peculiar views. He gradually came to the opinion, which he
+adopted as his first rule in portraiture, that it was his duty, not
+merely to copy the external features of the sitter, but to give what
+might be called an intellectual copy. He declared it to be possible and
+necessary for the sitter and painter to attain a unity of feeling and a
+sympathy, by which he (the painter) was inspired. Watts' earlier
+portraits, while being far from characterless, are not instances of the
+application of this principle. There is in them a slight tendency to
+eighteenth-century ideal portraiture, which so often took the sitter
+(and the observer too) back to times and attitudes, backgrounds and
+thunderstorms, that never were and never will be.
+
+Watts, however, was slightly influenced by the Pre-Raphaelite school. He
+might, had he wished, have been their portrait painter--and indeed, the
+picture of the comely Mrs. Hughes, a kind, motherly creature, with a
+background of distant fields, minutely painted, is quite on the lines of
+Pre-Raphaelite realism.
+
+[Illustration: PLATE VI.--LOVE TRIUMPHANT
+
+(At the Tate Gallery)
+
+     Time and Death having travelled together through the ages,
+     have run their course and are at length overthrown. Love alone
+     arises on immortal wings, triumphantly, with outspread arms to
+     the eternal skies.
+
+     Given to the nation in 1900.]
+
+Somewhat of the same character is the portrait of Mrs. Nassau Senior,
+who, with one knee on a sofa, is shown tending flowers, her rippling
+golden hair falling over her shoulders. A full-length portrait of Miss
+Mary Kirkpatrick Brunton, dated 1842, also belongs to the old style.
+Watts had a passion for human loveliness, and in his day some of the
+great beauties sat to him. The "Jersey Lily" (Mrs. Langtry) with her
+simple headdress and downcast eye, appeared at the Academy of 1879.
+"Miss Rachel Gurney" is a wonderful portrait of a flaming soul
+imprisoned in a graceful form and graceless dress. Miss Gurney is shown
+standing, turning slightly to the right with the head again turned over
+the right shoulder, while the whole effect of energy seems to be
+concentrated in the flashing eyes. Watts was able to interpret equally
+well personalities of a very different character, and perhaps the canvas
+representing Miss Edith Villiers is one of the most successful of his
+spiritual portraits. Miss Dorothy Dene, whose complexion Watts was one
+of the first to transfer to canvas, Miss Mary Anderson, and Miss Dorothy
+Maccallum, were all triumphantly depicted. He will be known, however, as
+the citizen portrait-painter of the nineteenth century, who preserved
+for us not merely the form, but the spirit of some of the greatest men
+of his day. Lord Tennyson sat three times. In 1859 the poet was shown in
+the prime of life, his hair and beard ruffled, his look determined. In
+1864 we had another canvas--"the moonlight portrait"; the face is
+that of Merlin, meditative, thoughtful. As you look at it the features
+stand out with great clearness, the distance of the laurels behind his
+head can be estimated almost precisely, while seen through them is the
+gleam of the moon upon the distant water. The 1890 portrait, in
+scholastic robes, with grizzled beard, and hair diminished, is Tennyson
+the mystic, and reminds us of his "Ancient Sage"--
+
+        "... for more than once when I
+    Sat all alone, revolving in myself
+    The word that is the symbol of myself,
+    The Mortal limit of the self was loosed
+    And passed into the Nameless, as a cloud
+    Melts into heaven."
+
+The portrait of John L. Motley, the American Minister to England in
+1869, and author of "The Rise of the Dutch Republic," is one of the most
+successful paintings of handsome men; Watts here depicts perfectly the
+"spiritual body" of strength, purity, and appeal; the eyes are deepest
+blue, and the hair the richest brown. In this case the artist has, as he
+was so prone, fallen into symbolism even in portraiture, for we can
+trace in the background a faint picture of an old-time fighting ship.
+
+Another classic portrait, so different to that by Whistler, is of Thomas
+Carlyle. The sage of Chelsea sits ruffled and untidy, with his hands
+resting on the head of a stick, and his features full of power. He seems
+protesting against the few hours' idleness, and anxious to get back to
+the strenuous life. The sitter was good enough to say that the portrait
+was of "a mad labourer"--not an unfair criticism of a very good
+portrait.
+
+_The Biblical Paintings_ are, as before said, in partial fulfilment of
+the frustrated scheme of "Cosmos." "Eve Repentant," in an attitude so
+typical of grief, is perhaps the most beautiful; it is one of a trilogy,
+the others being "She shall be called Woman," and "Eve Tempted." It is
+singular that in these three canvases the painter avoids the attempt to
+draw the face of the mother of the race. In the first the face is
+upturned, covered in shadow; in the second it is hid from view by the
+leaves of the forbidden tree, while in the third Eve turns her back and
+hides her weeping face with her arms. This habit of Watts to obscure the
+face is observed in "The Shuddering Angel," Judgment in "Time, Death,
+and Judgment," in "Love and Death," "Sic Transit," "Great Possessions,"
+and some others. Often indeed a picture speaks as much of what is not
+seen as of what is seen.
+
+Incidents from the Gospels are represented by "The Prodigal," where the
+outcast is seen crouching on the ground, his face fixed on vacuity,
+almost in the act of coming to himself. "For he had Great Possessions,"
+is, however, the greatest and simplest of all. There the young man who
+went away sorrowful with bowed head, scarcely knowing what he has lost,
+is used by Watts as one of his most powerful criticisms of modern life.
+Although the incident is a definite isolated one, yet the costume,
+figure, chain of office, and jewelled fingers, clutching and releasing,
+are of no time or land in particular.
+
+It is not a little remarkable that Watts, who had breathed so deeply the
+air of Italy, and had almost lived in company of Titian and Raphael,
+should never have attempted the figure of Christ or His apostles. This
+was, however, not without reason. His pictures were not only "for all
+time," but apart from time altogether. His only specific reference to
+Christianity is his beautiful canvas, "The Spirit of Christianity," in
+which he rebuked the Churches for their dissensions. A parental figure
+floats upon a cloud while four children nestle at her feet. The earth
+below is shrouded in darkness and gloom, despite the steeple tower
+raising its head above a distant village. The rebuke was immediately
+stimulated by the refusal of a certain church to employ Watts when the
+officials found he was not of their faith. In this picture Watts
+approached nearest to the Italian Madonnas both in form and colour.
+
+_The Mythical Paintings_ are, in the main, earlier than the Biblical
+series, but even here the same note of teaching is struck, and our human
+sympathies are drawn out towards the figure depicted. In one, "Echo"
+comes to find her lover transformed into a flower; in another, "Psyche,"
+through disobedience, has lost her love. She gazes regretfully at a
+feather fallen from Cupid's wing; it is a pink feather, such as might be
+taken from the plumage of the little Lord of Love who vainly opposes
+Death in his approach to the beloved one. In "Psyche," Watts has made
+the pale body expressive of abject loss; there is no physical effort,
+except in the well-expanded feet, and no other thought but lost love.
+
+The legend of "Diana and Endymion" was painted three times--"good,
+better, best." A shepherd loved the Moon, who in his sleep descends from
+heaven to embrace him. The canvas of 1903 must be regarded as the final
+success--the sleeping figure is more asleep, his vision more dreamlike
+and diaphanous. "Orpheus and Eurydice" (painted three times) is perhaps
+the greatest of his classical pictures. It is one of the few
+compositions that were considered by its author as "finished." Here
+again the lover through disobedience loses his love; the falling figure
+of Eurydice is one of the most beautiful and realistic of all the series
+of Watts' nudes, and the agony of loss, the energy of struggle, are
+magnificently drawn in the figure of Orpheus. Looking at the canvas, one
+recalls the lines of the old Platonic poet-philosopher Boëthius:
+
+    "At length the shadowy king,
+    His sorrows pitying,
+    'He hath prevailed!' cried;
+    'We give him back his bride!
+    To him she shall belong,
+    As guerdon of his song.
+    One sole condition yet
+    Upon the boon is set;
+    Let him not turn his eyes
+    To view his hard-won prize,
+    Till they securely pass
+    The gates of Hell.' Alas!
+    What law can lovers move?
+    A higher law is love!
+    For Orpheus--woe is me!--
+    On his Eurydice--
+    Day's threshold all but won--
+    Looked, lost, and was undone!"
+
+In "The Minotaur," that terrible creature, half man, half bull, crushing
+with his hideous claw the body of a bird, stands ever waiting to consume
+by his cruel lust the convoy of beauteous forms coming unseen and
+unwilling over the sea to him. It is an old myth, but Watts intended it
+for a modern message. The picture was painted by him in the heat of
+indignation in three hours.
+
+A small but very important group of paintings, which I call "The
+Pessimistic Series," begins with "Life's Illusions," painted in 1849.
+"It is," says Watts, "an allegorical design typifying the march of human
+life." Fair visions of Beauty, the abstract embodiments of divers forms
+of Hope and Ambition, hover high in the air above the gulf which stands
+as the goal of all men's lives. At their feet lie the shattered symbols
+of human greatness and power, and upon the narrow space of earth that
+overhangs the deep abyss are figured the brighter forms of illusions
+that endure through every changing fashion of the world. A knight in
+armour pricks on his horse in quick pursuit of the rainbow-tinted bubble
+of glory; on his right are two lovers; on his left an aged student still
+pores over his work by the last rays of the dying sun; while in the
+shadow of the group may be seen the form of a little child chasing a
+butterfly.
+
+This picture has the merit, along with "Fata Morgana," of combining the
+teaching element with one of the finest representations of woman's form
+that came from Watts' brush. He was one of those who vigorously defended
+the painting of the nude. These are some of his words:
+
+     "One of the great missions of art--the greatest indeed--is to
+     serve the same grand and noble end as poetry by holding in
+     check that natural and ever-increasing tendency to hypocrisy
+     which is consequent upon and constantly nurtured by
+     civilisation. My aim is now, and will be to the end, not so
+     much to paint pictures which are delightful to the eye, but
+     pictures which will go to the intelligence and the
+     imagination, and kindle there what is good and noble, and
+     which will appeal to the heart. And in doing this I am forced
+     to paint the nude."
+
+"Fata Morgana" is a picture of Fortune or Opportunity pursued and lost
+by an ardent horseman. It was painted twice, first in the Italian style,
+and again in what must be called Watts' own style--much the finer
+effort. This picture shows us what, in the artist's view, man in this
+mortal life desires, pursues, and mostly loses. Fortune has a lock of
+hair on her forehead by which alone she may be captured, and as she
+glides mockingly along, she leads her pursuers across rock, stream,
+dale, desert, and meadow typical of life. The pursuit of the elusive is
+a favourite theme with Watts, and is set forth by the picture
+"Mischief." Here a fine young man is battling for his liberty against an
+airy spirit representing Folly or Mischief. Humanity bends his neck
+beneath the enchanter's yoke--a wreath of flowers thrown round his
+neck--and is led an unwilling captive; as he follows the roses turn to
+briars about his muscular limbs, and at every step the tangle becomes
+denser, while one by one the arrows drop from his hand. The thought of
+"Life's Illusions" and "Fata Morgana" is again set forth in "Sic Transit
+Gloria Mundi," where we see the body of a king whose crown, and all that
+represents to him the glory of the world, is left at death. It is not,
+however, in Watts' conception essential glory that passes away, but the
+_Glory of the World_. Upon the dark curtain that hangs behind the
+shrouded figure are words that represent his final wisdom, "What I
+spent, I had; what I saved, I lost; what I gave, I have."
+
+[Illustration: PLATE VII.--THE GOOD SAMARITAN
+
+(At the Manchester Art Gallery)
+
+     This is an early picture, painted in the year 1852 and
+     presented to the city of Manchester by the artist in honour of
+     the prison philanthropist, a native of that city.]
+
+These I call "Pessimistic paintings," because they represent the true
+discovery ever waiting to be made by man, that the sum total of all that
+can be gained in man's external life--wealth, fame, strength, and
+power--that these inevitably pass from him. To know this, to see it
+clearly, to accept it, is the happiness of the pessimist, who
+thenceforward fixes his hope and bends his energies to the realisation
+of other and higher goods. In this he becomes an optimist, for this is
+the pursuit, as Watts never ceases to teach, in which man can and does
+attain his goal. Thus our prophet-painter, having seen and known and
+felt all this, having tested it in the personal and intimate life,
+brings to a triumphant close his great series, where positive rather
+than negative teaching is given.
+
+_The Great Realities_.--We have seen in "Chaos" primordial matter; we
+have now from Watts' brush the origin of things on the metaphysical
+side. In "The All-pervading," there sits the Spirit of the Universe,
+holding in her lap the globe of the systems, the representation of the
+last conclusions of philosophy. This mysterious picture is very low in
+tone, conforming to Watts' rule to make the colouring suit the subject.
+Here there is nothing hard or defined; the spirit of the universe is
+merely suggested or hinted at, his great wings enclose all. The
+elliptical form of this composition is seen again in "Death Crowning
+Innocence" and "The Dweller in the Innermost," and the same expressive
+indefiniteness and lowness of the colour tones. In the latter effort we
+have the figure of Conscience, winged, dumb-faced and pensive, seated
+within a glow of light. On her forehead is the shining star, and in her
+lap the arrows which pierce through all disguises, and a trumpet that
+proclaims peace to the world. Here, therefore, is the greatest reality
+from the psychological side. We have also cosmical paintings
+representing "Evolution," "Progress," the "Slumber of the Ages," and
+"Destiny," all of them asking and answering; not indeed finally and
+dogmatically, but as Watts desired that his pictures should do,
+stimulating in the observer both the asking and the answering faculty.
+In "Faith" we have a companion to "Hope." Wearied and saddened by
+persecutions, she washes her blood-stained feet in a running stream, and
+recognising the influence of Love in all the beauty of Nature, she feels
+that the sword is not the best argument, and takes it off. The colouring
+of this picture is rich and forcible, the maroon robe of the figure
+being one of Watts' favourite attempts.
+
+A satisfying picture of a little child emerging from the latest wave on
+the shore of humanity's ocean, asks the question, _Whence and Whither_.
+I reserve for "Hope" the final word (see Plate III.). If, as I said, the
+optimism which is spiritual and ideal springs from the pessimism which
+is material and actual, so too does Hope grow from the bosom of
+Despair. This the picture shows. Crouching on the sphere of the world
+sits the blindfold figure of a woman, bending her ear to catch the music
+of one only string preserved on her lyre. When everything has failed,
+there is Hope; and Hope looks, in Watts' teaching, for that which cannot
+fail, but which is ever triumphant, namely, Love.
+
+_The Love Series_.--According to Watts, Love steers the boat of
+humanity, who is seen in one of his canvases tossed about and almost
+shipwrecked. Love does not do this easily, but he does it. Love, as a
+winged youth, also guides Life, a fragile maiden, up the rocky
+steep--Life, that would else fail and fall. Violets spring where Love
+has trod, and as they ascend to the mountain top the air becomes more
+golden. This picture, "Love and Life" (see Plate V.) was painted four
+times. "Love and Death," painted three times, represents the
+irresistible figure of Death tenderly, yet firmly, entering a door where
+we know lies the beloved one. This is an eternal theme, suggested, I
+believe, by a temporal incident--the death of a young member of the
+Prinsep family. Love vainly pushes back the imperious figure; the
+protecting flowers are trodden down and the dove mourns; and with it all
+we feel that though Love fears Death, yet Death respects Love. Just as
+"Love and Death" are companion pictures and tell complementary truths,
+so "Time, Death, and Judgment" is related to "Love Triumphant" (see
+Plate VI.). In the one we see Time, represented by a mighty youth half
+clad in a red cloak, striding along with great vigour. His companion,
+whom he holds by the hand, is Death, the sad mother with weary, downcast
+eye and outspread lap ready to receive her load; but with neither of
+them is the final word, for Judgment, poised in the clouds, wields his
+fiery sword of eternal law and holds the balance before his hidden face.
+In "Love Triumphant" Love takes the place of, and transcends Judgment.
+Time and Death having travelled together through the ages, are in the
+end overthrown, and Love alone rises on immortal wings. Thus the stoical
+painter reaches his greatest height--tells his best truth.
+
+_The Death Series_.--As may be expected, Death has no terrors for the
+fundamental Watts. Never once does Death look with hollow eyes and
+sunken cheeks, or grasp with bony fingers at the living. In "Death
+Crowning Innocence," as a mother she puts her halo on the infant
+Innocence, whom she claims. Death holds a Court to which all must
+go--priest, soldier, king, cripple, beautiful woman, and young child.
+The lion must die, the civilisation be overthrown, wealth, fame, and
+pride must be let go--so Watts shows in his "Court of Death"; all come
+to the end of the book marked _Finis_. Death is calm and majestic, with
+angel wings, and overhead are the figures of Silence and Mystery,
+guarding, but partially revealing what is beyond the veil--sunrise and
+the star of hope; while even in the lap of Death nestles a new-born
+babe--the soul passing into new realms through the gates of Death.
+
+Again, Death is _the Messenger_ who comes, not to terrify, but as an
+ambassador to call the soul away from this alien land, quietly touching
+the waiting soul with the finger-tips. In the beautiful "Paolo and
+Francesca" the lovers are seen as Dante told of them; wafted along by
+the infernal wind; of them he spoke:
+
+          "... Bard! Willingly
+    I would address these two together coming,
+    Which seem so light before the wind."
+
+Francesca's reply to Dante is of Love and Death:
+
+    "Love, that in gentle heart is quickly learnt,
+    Entangled him by that fair form...;
+    Love, that denial takes from none beloved,
+    Caught me with pleasing him so passing well,
+    That as thou seest, he yet deserts me not.
+    Love brought us to one death."
+
+Watts has admirably caught the sweetness and sorrow of this situation in
+his beautiful picture, which, again, is one of the very few he
+considered finally "finished." It is almost a monochrome of blues and
+greys.
+
+In "Time and Oblivion," one of the earliest of the symbolical paintings,
+Time is again the stalwart man of imperishable youth, while Oblivion,
+another form of Death, spreads her mantle of darkness over all, claiming
+all.
+
+_Landscapes_.--Although Watts will ever be remembered for his
+allegorical, biblical, and portrait painting, yet he was by no means
+deficient in landscape art. Indeed, he carried into that branch of work
+his peculiar personality. Not only do his landscapes depict beautiful
+scenery in a fitting manner, joining atmosphere, sunshine, and colour,
+but they convey in an extraordinary degree the mood of Nature and of
+Man. "The Sphinx by Night" has an air of mystery about it that
+immediately impresses the spectator, and tells him something that cannot
+be communicated by words. The Italian and the Asiatic canvases by Watts,
+"Florence," "Fiesole," "Correna," "Cos," and "Asia Minor," all induce
+the feeling of repose and happiness, and the message that Nature sends
+to her devotees comes sweetly and calmly in "The Rainbow," where we look
+over an extensive valley from high ground, while heavy clouds and the
+rainbow adorn the upper air. In "The Cumulus" we "see skyward great
+cloud masses rolling, silently swelling and mixing." They recall perhaps
+the memories of the child, to whom the mountains of the air are a
+perpetual wonder. When in Savoy in 1888, Watts painted the Alps, again
+with a cloudy sky and a rocky foreground. In this the quietude of the
+scene penetrates the beholder. English landscape, to which all true
+hearts return, was successfully depicted, both in form and spirit, by
+Watts' "Landscape with Hayricks" (like the Brighton Downs), a quiet
+view from the summit of a hillside, on which are seen some hayricks. But
+perhaps the highest of them all is that very peaceful idyll named "All
+the air a solemn stillness holds." It was a view from the garden of
+Little Holland House. The time is sunset; a man and two horses are
+wending their way home. There are farm buildings on the left, and a
+thick wood in the background. In this one we feel how thoroughly Watts
+uses all forms as expressions of his invisible moods. In purely
+imaginative landscape, however, Watts struck his highest note. His
+"Deluge" canvases are wonderful attempts; in "The Dove that returned in
+the Evening," the bird is the only creature seen flying across the
+dreary waste of waters, placid but for three long low waves. On the
+horizon the artist has dimly suggested the ark of Noah. "Mount Ararat"
+is especially worthy of mention among the landscapes.
+
+[Illustration: PLATE VIII.--PRAYER
+
+(At the Manchester Art Gallery)
+
+     This is one of the most simple and beautiful of Watts' early
+     works. The young woman is kneeling at the table, book in hand,
+     her mind absorbed in thoughts of reverence. Painted in 1860.]
+
+Before Watts entered upon his series of great imaginative paintings he
+had used realism for didactic purposes. In those days his work was less
+rugged than in later times, and had a delicateness and refinement which
+is seen to perfection in some of his earlier portraits. A few of these
+efforts may be mentioned. "Study" is the bust of a girl, with long red
+hair, looking upwards; it represents a beautiful combination of
+spirituality and human affection. "The Rain it raineth every day" is a
+picture of ennui and utter weariness, beautifully and sympathetically
+expressed. The colouring is very brave. In "Prayer" (see Plate VIII.)
+the simplicity of the treatment may lead any one to pass it by as
+something slight and conventional, but it is perhaps one of the greatest
+of this type where simplicity and spirituality are combined. In
+"Choosing" Watts approached very near to the summit of simplicity and
+charm. A golden-haired girl is choosing a camellia blossom; but where
+all are so beautiful it is difficult for her to decide. Great interest
+in this picture lies in the fact that it was painted in 1864, and was
+drawn from Watts' young bride Miss Ellen Terry. One is almost tempted to
+find in this picture the germ of allegory which grew to such heights in
+the artist's later efforts.
+
+_The Warrior Series_.--Watts, like Ruskin and many other of the
+nineteenth-century philosophic artists, idealised warfare. His warriors
+are not clad in khaki; they do not crouch behind muddy earthworks. They
+are of the days before the shrapnel shell and Maxim gun; they wear
+bright steel armour, wield the sword and lance, and by preference they
+ride on horseback. Indeed, they are of no time or country, unless of the
+house of Arthur and the land of Camelot.
+
+We are thus able to understand the characteristic of Watts' warrior
+pictures. The first is "Caractacus," the British chief; though no
+Christian, he is the earliest of Watts' heroes. The second is the
+beautiful "Sir Galahad," whose strength was as the strength of ten,
+because his heart was pure. We see a knight standing bare-headed at the
+side of his white horse, gazing with rapt eyes on the vision of the Holy
+Grail, which in the gloom and solitude of the forest has suddenly dawned
+on his sight. The features of young Arthur Prinsep, with his bushy hair,
+who later became a general in the British army, can be detected in this
+wonderful and simple picture. Its composition is like a stained-glass
+window. It is of all Watts' perhaps the nearest to mysticism, and at the
+same time it is an appeal to the young to be like Sir Galahad. The
+original is in Eton College Chapel.
+
+In 1863 followed "The Eve of Peace," in which we see a warrior of middle
+age, much like Watts himself at that time, who has lost the passion for
+warfare, sheathing his sword, glad to have it all over. The peacock
+feather that is strewn on the floor of "The Court of Death," and lies by
+the bier in "Sic Transit," is fastened to the warrior's casque.
+"Aspiration," also taken from young Prinsep (1866), is a picture of a
+young man in the dawn of life's battle, who, wishing to be a
+standard-bearer, looks out across the plain. He sees into the great
+possibilities of human life, and the ardent spirit of life is sobered by
+the burden of responsibilities. "Watchman, what of the Night?" is
+another wonderful composition, representing a figure with long hair,
+clad in armour, looking out into the darkness of the night, with his
+hand grasping the hilt of the sword. The colour, low in tone, and the
+whole composition, indicate doubt and yet faith. Ellen Terry was the
+model for this painting.
+
+"The Condottiere" represents the fighting spirit of the Middle Ages.
+This soldier is, like the others, clad in armour, and is not likely to
+have a vision of the Holy Grail. His features represent the
+determination and vigour which were required of him in those ferocious
+days. "The Red Cross Knight accompanying Una" is a charming picture,
+representing an incident in Spenser's "Faëry Queen," but the palm must
+be given to "The Happy Warrior," who is depicted at the moment of death,
+his head falling back, and his helmet unloosed, catching a glimpse of
+some angelic face, who speaks to him in terms of comfort and of peace.
+This picture, of all the others, shows how Watts has insisted on
+carrying to the very highest point of idealism the terrible activities
+of warfare:
+
+    "This, the Happy Warrior, this is he,
+    That every man in arms should wish to be."
+
+He sent a copy, the original of which is in the Munich Gallery, to Lord
+Dufferin, whose son was killed in the South African War, and he declares
+that many bereaved mothers have thanked him for the inspiration and
+comfort it has brought to them.
+
+Watts' pictures are widely distributed; a roomful may be seen at the
+Tate Gallery, Millbank, S.W. Nearly all the portraits of public men are
+at the National Portrait Gallery, Trafalgar Square, London. There is a
+portrait of Thomas Carlyle in the South Kensington Museum, three or four
+pictures at the Manchester Corporation Gallery, and one at the Leicester
+Art Gallery. There are also several of Watts' best pictures in a gallery
+attached to his country house at Compton in Surrey; while his fresco
+"Justice" can be seen at the Benchers' Hall, Lincoln's Inn.
+
+Watts was conscious of the benefit he had received from the great men
+who had preceded him, and in his best moments so essentially humble,
+that in his last will and testament, and the letters of gift, he rises
+to the great height of artistic patriotism which always appeared to him
+in the light of a supreme duty.
+
+The former document has the following phrases: "I bequeath all my
+studies and works to any provincial gallery or galleries in Great
+Britain or Ireland, which my executors shall in their discretion select,
+and to be distributed between such galleries." This Will is dated
+November 1, 1899, and relates to such works as had not already been
+disposed of. His great gift to the nation was made in 1897, accompanied
+by a characteristic letter in which he says:
+
+     "You can have the pictures any time after next Sunday. I have
+     never regarded them as mine, but never expected they would be
+     placed anywhere until after my death, and only see now my
+     presumption and their defects and shrink from the consequences
+     of my temerity! I should certainly like to have them placed
+     together, but of course can make no conditions. One or two are
+     away, and I am a little uncertain about the sending of some
+     others; if you could spare a moment I should like to consult
+     you."
+
+A few weeks later, following a letter from the Keeper of the National
+Gallery, he writes as follows:
+
+     "I beg to thank you and through you the Trustees and Director
+     of the National Gallery for the flattering intention of
+     placing the tablet you speak of, but while returning grateful
+     thanks for the intention of doing me this honour I should like
+     it to be felt that I have in no way desired anything but the
+     recognition that my object in work, and the offering of it,
+     has only been the hope of spending my time and exercising my
+     experience in a worthy manner, leaving to time further
+     judgment. Most certainly I desire that my pictures should be
+     seen to advantage, and have a good effect as an encouragement
+     to artists of stronger fibre and greater vitality, to pursue
+     if only occasionally a similar direction and object."
+
+At the end of a long life by no means devoid of mistakes and
+disappointments, it would seem as though Watts attained to his desires.
+The man has passed away, while the witness of his aspirations remains.
+
+
+
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+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html>
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+<title>The Project Gutenberg eBook of Watts (1817-1904), by William Loftus Hare</title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
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+    P {  margin-top: .75em;
+         text-align: justify;
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+    BODY{margin-left: 10%;
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+    .linenum  {position: absolute; top: auto; left: 4%;} /* poetry number */
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+    .blkquot  {margin-left: 4em; margin-right: 4em;} /* block indent */
+    .blkcap   {margin-left: 8em; margin-right: 7em;} /* indent captions*/
+    .toc      {margin-left: 10em; margin-right: 10em;} /* table of contents indent */
+    .pagenum  {position: absolute; left: 92%; font-size: smaller; text-align: right;} /* page numbers */
+    .sidenote {width: 20%; margin-bottom: 1em; margin-top: 1em; padding-left: 1em; font-size: smaller; float: right; clear: right;}
+
+    .poem             {margin-left:35%; margin-right:30%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span        {display: block; margin: 0; padding-left: 3em; text-indent: -3em;}
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+    .poem span.i4     {display: block; margin-left: 4em;}
+    .poem span.i6     {display: block; margin-left: 6em;}
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+<body>
+<h1>The Project Gutenberg eBook, Watts (1817-1904), by William Loftus Hare</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Watts (1817-1904)</p>
+<p>Author: William Loftus Hare</p>
+<p>Release Date: September 17, 2004  [eBook #13477]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK WATTS (1817-1904)***</p>
+<br />
+<br />
+<h3>E-text prepared by Juliet Sutherland, Jeannie Howse,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team</h3>
+<br />
+<br />
+<hr class="full" />
+<br />
+<br />
+<br />
+<h1>WATTS (1817-1904)</h1>
+<h2>BY W. LOFTUS HARE</h2>
+<p class="center" style="{font-variant: small-caps; font-size: 120%}">ILLUSTRATED WITH EIGHT<br />
+REPRODUCTIONS IN COLOUR</p>
+<br />
+<br />
+<hr />
+<br />
+<br />
+<h2>MASTERPIECES IN COLOUR</h2>
+<h3>EDITED BY T. LEMAN HARE</h3>
+
+<!-- used depreciated align value in the table, can't find how to use style to do it -->
+  <table border="0" cellpadding="2" cellspacing="1" width="45%" summary="Series Listing" align="center">
+
+  <tr>
+  <td valign="top" align="left" width="50%">&nbsp;
+  </td>
+  <td valign="top" align="left" width="50%">&nbsp;
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">ARTIST.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">AUTHOR.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">VELAZQUEZ.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">REYNOLDS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}"> S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">TURNER.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">ROMNEY.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">GREUZE.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">ALYS EYRE MACKLIN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">BOTTICELLI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">HENRY B. BINNS.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">ROSSETTI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">LUCIEN PISSARRO.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">BELLINI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">GEORGE HAY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">FRA ANGELICO.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JAMES MASON.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">REMBRANDT.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JOSEF ISRAELS.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LEIGHTON.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A. LYS BALDRY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">RAPHAEL.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PAUL G. KONODY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">HOLMAN HUNT.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">MARY E. COLERIDGE.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">TITIAN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MILLAIS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A. LYS BALDRY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">CARLO DOLCI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">GEORGE HAY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">GAINSBOROUGH.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">MAX ROTHSCHILD.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">TINTORETTO.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LUINI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JAMES MASON.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">FRANZ HALS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">EDGCUMBE STALEY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">VAN DYCK.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PERCY M. TURNER.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LEONARDO DA VINCI.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">M.W. BROCKWELL.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">RUBENS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">WHISTLER.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">T. MARTIN WOOD.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">HOLBEIN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">BURNE-JONES.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A. LYS BALDRY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">VIG&Eacute;E LE BRUN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. HALDANE MACFALL.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">CHARDIN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PAUL G. KONODY.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">FRAGONARD.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. HALDANE MACFALL.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MEMLINC.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">W.H.J. &amp; J.C. WEALE.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">CONSTABLE.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">RAEBURN.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">JAMES L. CAW.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">JOHN S. SARGENT.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">T. MARTIN WOOD.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">LAWRENCE.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">D&Uuml;RER.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">H.E.A. FURST.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MILLET.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">PERCY M. TURNER.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">WATTEAU.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">HOGARTH.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">C. LEWIS HIND.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">MURILLO.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">S.L. BENSUSAN.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">WATTS.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">W. LOFTUS HARE.
+  </td>
+  </tr>
+  <tr>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 110%}">INGRES.
+  </td>
+  <td valign="top" align="left" width="50%" style="{font-variant: small-caps; font-size: 95%}">A.J. FINBERG.
+  </td>
+  </tr>
+  </table>
+
+
+<p style="{text-align: center}"><i>Others in Preparation</i>.</p>
+
+<p style="{text-align: center; font-weight: bold}">The Publishers have to acknowledge the permission of Mrs.<br />
+Watts to reproduce the series of paintings here included.</p>
+
+<br />
+<hr />
+
+<a name="image-1"><!-- Image 1 --></a>
+<p class="center">
+<a href="images/image-1.jpg" target="_blank">
+<img border="0" src="images/image-1.jpg" height="900" width="582" alt="DEATH CROWNING INNOCENCE" /></a>
+</p>
+
+<p class="center" style="{font-weight: bold}">PLATE I.&mdash;DEATH CROWNING INNOCENCE</p>
+<div class='blkcap'><p style="{text-indent: 0cm}">A little child lying in the lap of the winged figure of Death.
+     Death, ever to Watts a silent angel of pity, &quot;takes charge of
+     Innocence, placing it beyond the reach of evil.&quot; It was first
+     exhibited at the Winter Exhibition of the New Gallery, 1896,
+     and was given to the nation in 1897. It is now at the Tate
+     Gallery.]</p></div>
+
+<br />
+<hr />
+<br />
+
+
+<a name="image-2"><!-- Image 2 --></a>
+<p class="center">
+<img border="0" src="images/image-2.png" height="470" width="500" alt="IN SEMPITERNUM" />
+</p>
+
+<br />
+
+<hr />
+<a name='LIST_OF_ILLUSTRATIONS'></a><h2>LIST OF ILLUSTRATIONS</h2>
+
+
+<br />
+
+<div class="toc"><p style="{font-size: 115%}"><a href="#image-1" style="text-decoration:none">I. Death crowning Innocence</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-4" style="text-decoration:none">II. The Minotaur</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-5" style="text-decoration:none">III. Hope</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-6" style="text-decoration:none">IV. Thomas Carlyle</a><br />
+<span style="margin-left: 2em;">At the South Kensington Museum</span><br />
+<br />
+<a href="#image-7" style="text-decoration:none">V. Love and Life</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-8" style="text-decoration:none">VI. Love Triumphant</a><br />
+<span style="margin-left: 2em;">At the Tate Gallery</span><br />
+<br />
+<a href="#image-9" style="text-decoration:none">VII. The Good Samaritan</a><br />
+<span style="margin-left: 2em;">At the Manchester Art Gallery</span><br />
+<br />
+<a href="#image-10" style="text-decoration:none">VIII. Prayer</a><br />
+<span style="margin-left: 2em;">At the Manchester Art Gallery</span><br />
+</p></div>
+
+<hr />
+
+<a name="image-3"><!-- Image 3 --></a>
+<p class="center">
+<img border="0" src="images/image-3.png" height="574" width="500" alt="WATTS" />
+</p>
+
+
+<hr />
+<a name='I'></a><h2>I</h2>
+<h3>A BIOGRAPHICAL OUTLINE</h3>
+<br />
+
+<p>In July of 1904 the eighty-seven mortal years of George Frederick Watts
+came to an end. He had outlived all the contemporaries and acquaintances
+of his youth; few, even among the now living, knew him in his middle
+age; while to those of the present generation, who knew little of the
+man though much of his work, he appeared as members of the Ionides
+family, thus inaugurating the series of private and public portraits for
+which he became so famous. The Watts of our day, however, the teacher
+first and the painter afterwards, had not yet come on the scene. His
+first aspiration towards monumental painting began in the year 1843,
+when in a competition for the decoration of the Houses of Parliament he
+gained a prize of &pound;300 for his cartoon of &quot;Caractacus led Captive
+through the Streets of Rome.&quot; At this time, when history was claiming
+pictorial art as her servant and expositor, young Watts carried off the
+prize against the whole of his competitors. This company included the
+well-known historical painter Haydon, who, from a sense of the
+impossibility of battling against his financial difficulties, and from
+the neglect, real or fancied, of the leading politicians, destroyed
+himself by his own hand.</p>
+
+<p>The &pound;300 took the successful competitor to Italy, where for four years
+he remained as a guest of Lord Holland. Glimpses of the Italy he gazed
+upon and loved are preserved for us in a landscape of the hillside town
+of Fiesole with blue sky and clouds, another of a castellated villa
+and mountains near Florence, and a third of the &quot;Carrara Mountains
+near Pisa&quot;; while of his portraiture of that day, &quot;Lady Holland&quot; and
+&quot;Lady Dorothy Nevill&quot; are relics of the Italian visit.</p>
+
+<br />
+<br />
+
+<a name="image-4"><!-- Image 4 --></a>
+<p class="center">
+<a href="images/image-4.jpg" target="_blank">
+<img border="0" src="images/image-4.jpg" height="900" width="726" alt="THE MINOTAUR" /></a>
+</p>
+
+<p class="center" style="{font-weight: bold}">PLATE II.&mdash;THE MINOTAUR</p>
+<div class='blkcap'><p style="{text-indent: 0cm}">In this terrible figure, half man, half bull, gazing over the
+     sea from the battlement of a hill tower, we see the artist's
+     representation of the greed and lust associated with modern
+     civilisations. The picture was exhibited at the Winter
+     Exhibition of the New Gallery, 1896, and formed part of the
+     Watts Gift in 1897. It hangs in the Watts Room at the Tate
+     Gallery. </p></div>
+
+<br />
+
+<p>Italy, and particularly Florence, was perpetual fascination and
+inspiration to Watts. There he imbibed the influences of Orcagna and
+Titian&mdash;influences, indeed, which were clearly represented in the next
+monumental painting which he attempted. It came about that Lord Holland
+persuaded his guest to enter a fresh competition for the decoration of
+the Parliament Houses, and Watts carried off the prize with his &quot;Alfred
+inciting the Saxons to resist the landing of the Danes.&quot; The colour and
+movement of the great Italian masters, conspicuously absent from the
+&quot;Caractacus&quot; cartoon, were to be seen in this new effort, where, as has
+been said, the English king stands like a Raphaelesque archangel in the
+midst of the design.</p>
+
+<p>In 1848 Watts had attained, one might almost say, the position of
+official historical painter to the State, a post coveted by the
+unfortunate Haydon; and he received a commission to paint a fresco of
+&quot;St. George overcomes the Dragon,&quot; which was not completed till 1853.
+In this year he contributed as an appendix to the Diary of Haydon&mdash;in
+itself an exciting document, showing how wretched the life of an
+official painter then might be&mdash;a note telling of the state of
+historical and monumental painting in the 'forties, and of his own
+attitude towards it; a few of his own words, written before the days of
+the &quot;poster,&quot; may be usefully quoted here:</p>
+
+<div class='blkquot'><p class="center" style="{font-weight: bold}">ON THE PUBLIC EMPLOYMENT OF ARTISTS</p>
+
+<p>     Patriots and statesmen alike forget that the time will come
+     when the want of great art in England will produce a gap sadly
+     defacing the beauty of the whole national structure....</p>
+
+<p>     Working, for example, as an historian to record England's
+     battles, Haydon would, no doubt, have produced a series of
+     mighty and instructive pictures....</p>
+
+<p>     Why should not the Government of a mighty country undertake
+     the decoration of all the public buildings, such as Town
+     Halls, National Schools, and even Railway Stations....</p>
+
+<p>     ... Or considering the walls as slates whereon the school-boy
+     writes his figures, the great productions of other times might
+     be reproduced, if but to be rubbed out when fine originals
+     could be procured; for the expense would very little exceed
+     that of whitewashing....</p>
+
+<p>     If, for example, on some convenient wall the whole line of
+     British sovereigns were painted&mdash;were monumental effigies
+     well and correctly drawn, with date, length of reign,
+     remarkable events written underneath, these worthy objects
+     would be attained&mdash;intellectual exercise, decoration of space,
+     and instruction to the public. </p></div>
+
+<br />
+
+<p>The year 1848 was a critical time for Watts; his first allegorical
+picture, &quot;Time and Oblivion,&quot; was painted, and, in the year following,
+&quot;Life's Illusions&quot; appeared on the walls of the famous Academy which
+contained the first works of the Pre-Raphaelite Brotherhood. Watts was
+not of the party, though he might have been had he desired; he preferred
+independence.</p>
+
+<p>Watts' personal life was at this time pervaded by the influence of Lord
+and Lady Holland, who, having returned from Florence to London, had him
+as a constant visitor to Holland House. In 1850 he went to live at The
+Dower House, an old building in the fields of Kensington. There, as a
+guest of the Prinsep family, he set up as a portrait painter. His host
+and family connections were some of the first to sit for him; and he
+soon gained fame in this class of work.</p>
+
+<p>There was a temporary interruption in 1856, when a journey to the East,
+in company with Sir Charles Newton, for the purpose of opening the
+buried Temple of Mausolus at Halicarnassus, gave Watts further insight
+into the old Greek world; and, one cannot but think, stimulated his
+efforts, later so successful, in depicting for us so many incidents in
+classical lore. We have, in a view of a mountainous coast called &quot;Asia
+Minor,&quot; and another, &quot;The Isle of Cos,&quot; two charming pictorial records
+of this important expedition. The next six years of the artist's life
+were spent as a portrait painter; not, indeed, if one may say so, as a
+professional who would paint any one's portrait, but as a friend, who
+loved to devote himself to his friends.</p>
+
+<p>In pursuance of his principles touching monumental work, Watts engaged
+himself over a period of five years on the greatest and the last of his
+civic paintings&mdash;namely, the &quot;Justice; a Hemicycle of Lawgivers,&quot; to
+which I shall later refer.</p>
+
+<p>Watts was a man who seems to have enjoyed in a singular degree the great
+privilege of friendship, which while it has its side of attachment, has
+also its side of detachment. Even in his youthful days he never &quot;settled
+down,&quot; but was a visitor and guest rather than an attached scholar and
+student at the schools and studies. It is told of him that when just
+about to leave Florence, after a short visit, he casually presented a
+letter of introduction to Lord Holland, which immediately led to a four
+years' stay there, and this friendship lasted for many years after the
+ambassador's return to England. Other groups of friends, represented by
+the Ionides, the Prinseps, the Seniors, and the Russell Barringtons,
+seemed to have possessed him as their special treasure, in whose
+friendship he passed a great part of his life. Two great men, the
+titular chiefs of poetry and painting, were much impressed by him, and
+drew from him great admiration&mdash;Tennyson and Leighton; from the latter
+he learned much; in the sphere of music, of which Watts was passionately
+fond, there stands out Joachim the violinist.</p>
+
+<p>Watts used to recall, as the happiest time in his life, his youthful
+days as a choral singer; and he always regretted that he had not become
+a musician. Besides being fond of singing he declared that he constantly
+heard (or felt) mystic music&mdash;symphonies, songs, and chorales. Only
+once did he receive a <i>vision</i> of a picture&mdash;idea, composition and
+colours&mdash;that was &quot;Time, Death, and Judgment.&quot; Music, after all, is
+nearer to the soul of the intuitive man than any of the arts, and Watts
+felt this deeply. He also had considerable dramatic talent.</p>
+
+<p>In 1864 some friends found for Watts a bride in the person of Miss Ellen
+Terry. The painter and the youthful actress were married in Kensington
+in February of that year, and Watts took over Little Holland House. The
+marriage, however, was irksome, both to the middle-aged painter and the
+vivacious child of sixteen, whose words, taken from her autobiography,
+are the best comment we possess on this incident:</p>
+
+<div class='blkquot'><p>&quot;Many inaccurate stories have been told of my brief married
+     life, and I have never contradicted them&mdash;they were so
+     manifestly absurd. Those who can imagine the surroundings into
+     which I, a raw girl, undeveloped in all except my training as
+     an actress, was thrown, can imagine the situation.... I
+     wondered at the new life and worshipped it because of its
+     beauty. When it suddenly came to an end I was thunderstruck;
+     and refused at first to consent to the separation which was
+     arranged for me in much the same way as my marriage had
+     been.... There were no vulgar accusations on either side, and
+     the words I read in the deed of separation, 'incompatibility
+     of temper,' more than covered the ground. Truer still would
+     have been 'incompatibility of <i>occupation</i>,' and the
+     interference of well-meaning friends.</p>
+
+<p>     &quot;'The marriage was not a happy one,' they will probably say
+     after my death, and I forestall them by saying that it was in
+     many ways very happy indeed. What bitterness there was effaced
+     itself in a very remarkable way.&quot; (<i>The Story of My Life</i>,
+     1908.) </p></div>
+
+<br />
+
+<p>In 1867, at the age of fifty, without his application or knowledge,
+Watts was made an Associate, and in the following year a full Member, of
+the Royal Academy. Younger men had preceded him in this honour, but
+doubtless Watts' modesty and independence secured for him a certain
+amount of official neglect. The old studio in Melbury Road, Kensington,
+was pulled down in 1868, and a new house was built suited to the painter
+who had chosen for himself a hermit life. The house was built in such a
+way as would avoid the possibility of entertaining guests, and was
+entirely dedicated to work. Watts continued his series of official
+portraits, and many of the most beautiful mythical paintings followed
+this change. Five years later, Watts was found at Freshwater in the Isle
+of Wight, and in 1876 he secured what he had so long needed, the
+sympathetic help and co-operation in his personal and artistic aims, in
+Mr. and Mrs. Russell Barrington, his neighbours.</p>
+
+<p>In 1877 Watts decided, in conformity with his views on patriotic art, to
+give his pictures to the nation, and there followed shortly after, in
+1881 and 1882, exhibitions of his works in Whitechapel and the Grosvenor
+Gallery. A leaflet entitled &quot;What should a picture say?&quot; issued with the
+approval of Watts, in connection with the Whitechapel Exhibition, has a
+characteristic answer to the question put to him.</p>
+
+<div class='blkquot'><p>&quot;Roughly speaking, a picture must be regarded in the same
+     light as written words. It must speak to the beholder and tell
+     him something.... If a picture is a representation only, then
+     regard it from that point of view only. If it treats of a
+     historical event, consider whether it fairly tells its tale.
+     Then there is another class of picture, that whose purpose is
+     to convey suggestion and idea. You are not to look at that
+     picture as an actual representation of facts, for it comes
+     under the same category of dream visions, aspirations, and we
+     have nothing very distinct except the sentiment. If the
+     painting is bad&mdash;the writing, the language of art, it is a
+     pity. The picture is then not so good as it should be, but the
+     thought is there, and the thought is what the artist wanted to
+     express, and it is or should be impressed on the spectator.&quot; </p></div>
+
+<br />
+
+<p>In 1886 his pictures were exhibited in New York, where they created a
+great sensation; but incidents connected with the exhibition, and
+criticisms upon it, caused the artist much nervous distress.</p>
+
+<br />
+<br />
+
+<a name="image-5"><!-- Image 5 --></a>
+<p class="center">
+<a href="images/image-5.jpg" target="_blank">
+<img border="0" src="images/image-5.jpg" height="900" width="733" alt="HOPE" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE III.&mdash;HOPE</p>
+<p class="center">(At the Tate Gallery)</p>
+
+<div class='blkquot'><p style="{text-indent: 0cm}">At the first glance it is rather strange that such a picture
+     should bear such a title, but the imagery is perfectly true.
+     The heavens are illuminated by a solitary star, and Hope bends
+     her ear to catch the music from the last remaining string of
+     her almost shattered lyre. The picture was painted in 1885 and
+     given to the nation in 1897. A very fine duplicate is in the
+     possession of Mrs. Rushton. </p></div>
+
+<br />
+
+<p>It was a peculiar difficulty of his nature which led him to insist, on
+the occasions of the London and provincial exhibitions of his pictures,
+that the borrowers were to make all arrangements with his frame-maker,
+that he should not be called upon to act in any way, and that no
+personal reference should be introduced. Watts always considered himself
+a private person; he disliked public functions and fled from them if
+there were any attempt to draw attention to him. His habits of work were
+consistent with these unusual traits. At sunrise he was at his easel.
+During the hot months of summer he was hard at work in his London
+studio, leaving for the country only for a few weeks during foggy
+weather.</p>
+
+<p>At the age of sixty-nine Watts married Miss Mary Fraser-Tytler, with
+whom he journeyed to Egypt, painting there a study of the &quot;Sphinx,&quot; one
+of the cleverest of his landscapes. Three years after his return, he
+settled at Limnerslease, Compton, in Surrey, where he took great
+interest in the attempt to revive industrial art among the rural
+population.</p>
+
+<p>Twice, in 1885 and 1894, the artist refused, for private reasons, the
+baronetcy that other artists had accepted. He lived henceforth and died
+the untitled patriot and artist, George Frederick Watts.</p>
+
+
+
+<hr />
+<a name='II'></a><h2>II</h2>
+<h3>THE MAN AND THE MESSENGER</h3>
+<br />
+
+<p>Having given in the preceding pages the briefest possible outline of the
+life of Watts as a man amongst men, we are now able to come to closer
+quarters. He was essentially a messenger&mdash;a teacher, delivering to the
+world, in such a manner that his genius and temperament made possible,
+ideas which had found their place in his mind. He would have been the
+first to admit that without these ideas he would be less than nothing.</p>
+
+<p>If it were possible to bring together all the external acts of the
+painter's life, his journeyings to and fro, his making and his losing
+friends, we should have insufficient data to enable us to understand
+Watts' message; his great ambitions, his constant failures, his intimate
+experiences, his reflections and determinations&mdash;known to none but
+himself&mdash;surely these, the internal life of Watts, are the real sources
+of his message? True, he was in the midst of the nineteenth century,
+breathing its atmosphere, familiar with the ideals of its great men,
+doubting, questioning, and hoping with the rest. To him, as to many a
+contemporary stoic, the world was in a certain sense an alien ground,
+and mortal life was to be stoically endured and made the best of. It is
+impossible to believe, however, that this inspiring and prophetic
+painter reproduced and handed on merely that which his time and society
+gave him. His day and his associates truly gave him much; the past and
+his heredity made their contributions; but we must believe that the
+purest gold was fired in the crucible of his inner experience, his joys
+and his sufferings. In him was accomplished that great discovery which
+the philosophers have called Pessimism; he not only saw in other men (as
+depicted in his memorable canvas of 1849), but he experienced in himself
+the transitory life's illusions. To Watts, the serious man of fifty
+years, Love and Death, Faith and Hope, Aspiration, Suffering, and
+Remorse, were not, as to the eighteenth-century rhymester, merely Greek
+ladies draped in flowing raiment; to him they were realities, intensely
+focussed in himself. Watts was giving of himself, of his knowledge and
+observation of what Love is and does, and how Death appears so
+variously; and who but a man who knew the melancholy of despair could
+paint that picture &quot;Hope&quot;?</p>
+
+<p>Immediately after the central crisis of his personal life appeared the
+canvas entitled &quot;Fata Morgana,&quot; illustrative of a knight in vain pursuit
+of a phantom maiden; and before long there was from his brush the
+pictured story of a lost love, &quot;Orpheus and Eurydice,&quot; one of the
+saddest of all myths, but, one feels, no old myth to him.</p>
+
+<p>By a more careful analysis of the artist's work we hope to learn the
+teaching Watts set himself to give, and to ascertain the means that he
+adopted; but one point needs to be made clear at this stage, namely,
+that although Watts was a great teacher, yet he was not a revolutionary.
+The ideals he held up were not new or strange, but old, well-tried, one
+might almost say conventional. They represent the ideals which, in the
+friction and turmoil of ages, have emerged as definite, clear, final.
+They are not disputed or dubious notions, but accepted truisms forgotten
+and neglected, waiting for the day when men shall live by them.</p>
+
+<p>Furthermore, Watts was not in any sense a mystic&mdash;neither personally or
+as an artist. &quot;The Dweller in the Innermost&quot; is not the transcendental
+self known to a few rare souls, but is merely conscience, known to all.
+The biblical paintings have no secret meaning assigned to them. The
+inhabitants of Eden, the hero of the Deluge, the Hebrew patriarchs,
+Samson and Satan&mdash;all these are the familiar figures of the
+evangelical's Bible. &quot;Eve Repentant&quot; is the woman Eve, the mother of the
+race; &quot;Jacob and Esau&quot; are the brothers come to reconciliation; &quot;Jonah&quot;
+is the prophet denouncing the Nineveh of his day and the Babylon of
+this. The teaching&mdash;and there is teaching in every one of them&mdash;is plain
+and ethical. So also, with the Greek myths; they teach plainly&mdash;they
+hold no esoteric interpretations. Watts is no Neo-Platonist weaving
+mystical doctrines from the ancient hero tales; he is rather a stoic, a
+moralist, a teacher of earthly things.</p>
+
+<p>But we must be careful to guard against the impression of Watts as a
+lofty philosopher consciously issuing proclamations by means of his art.
+Really he was not aware of being a philosopher at all; he was simply an
+artist, an exquisitely delicate and sensitive medium, who, when once
+before his canvas, suddenly filled with his idea, was compelled to say
+his word. If there be any synthesis about his finished work&mdash;and no one
+can deny this&mdash;it was not because Watts gave days and nights and years
+to &quot;thinking things out.&quot; His paintings are, as he used to call them,
+&quot;anthems,&quot; brought forth by the intuitive man, the musician. This was
+the fundamental Watts. Whatever unity there be, is due rather to unity
+of inspiration than to strength or definiteness of character and
+accomplishment, and this was sometimes referred to by Watts as a golden
+thread passing through his life&mdash;a thread of good intention&mdash;which he
+felt would guide him through the labyrinth of distractions, mistakes,
+irritations, ill health, and failures.</p>
+
+<p>One of the striking incidents in the life of Watts was his offer to
+decorate Euston Railway Station with frescoes entitled &quot;The Progress of
+Cosmos.&quot; &quot;Chaos&quot; we have in the Tate Gallery, full of suggestiveness and
+interest. We see a deep blue sky above the distant mountains, gloriously
+calm and everlasting; in the middle distance to the left is a nebulous
+haze of light, while in the foreground the rocks are bursting open and
+the flames rush through. Figures of men, possessed by the energy and
+agony of creation, are seen wrestling with the elements of fire and
+earth. One of these figures, having done his work, floats away from the
+glow of the fire across the transparent water, while others of his
+creative family have quite passed the struggling stage of movement and
+are reclining permanent and gigantic to the right of the picture. The
+same idea is repeated in the chain of draped women who are emerging from
+the watery deep; at first they are swept along in isolation, then they
+fly in closer company, next they dance and finally walk in orderly
+procession. But Chaos, for all this, is a unity; of all material forms
+it is the most ancient form; Cosmos however is the long-drawn tale
+beginning with the day when &quot;The Spirit of God brooded on the face of
+the waters.&quot; Cosmos might have been Watts' synthetic pictorial
+philosophy; Herbert Spencer with his pen, and he with his brush, as it
+were, should labour side by side. But this was not to be; the Directors
+of the North-Western Railway declined the artist's generous offer, and
+he had to get his &quot;Cosmos&quot; painted by degrees. On the whole, perhaps, we
+should be thankful that the railway company liberated Watts from this
+self-imposed task. We remember that Dante in his exile set out to write
+&quot;Il Convivio,&quot; a Banquet of so many courses that one might tremble at
+the prospect of sitting down to it; the four treatises we have are
+interesting, though dry as dust; but if Dante had finished his Banquet,
+he might never have had time for his &quot;Divine Comedy&quot;; so perhaps, after
+all, we shall be well content to be without Watts' &quot;Cosmos,&quot; remembering
+what we have gained thereby. Besides, the continuous and spontaneous
+self-revelation of an artist or a poet is sometimes truer than a rigid
+predetermined plan.</p>
+
+<br />
+<br />
+
+<a name="image-6"><!-- Image 6 --></a>
+<p class="center">
+<a href="images/image-6.jpg" target="_blank">
+<img border="0" src="images/image-6.jpg" height="900" width="720" alt="THOMAS CARLYLE" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE IV.&mdash;THOMAS CARLYLE</p>
+<p class="center">(At the South Kensington Museum)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">This canvas was painted in 1868, and is the earlier of the two
+     portraits of the famous historian painted by Watts. It formed
+     part of the Foster Bequest. It is interesting to compare this
+     with the painting in the National Portrait Gallery. </p></div>
+
+<br />
+
+<p>A few words from the pen of the artist, appearing by way of preface to a
+book, &quot;A Plain Handicraft,&quot; may here be quoted to indicate the strong
+views Watts took on the &quot;Condition-of-England Question.&quot; His interest in
+art was not centred in painting, or sculpture, or himself, or his fellow
+artists. He believed in the sacred mission of art as applied to profane
+things. We see how closely he adheres to the point of view made so
+famous by Ruskin. Both Watts and Ruskin, one feels, belong rather to the
+days of Pericles, when everything was best in the state because the
+citizens gave themselves up to it and to each other. Writing of the
+necessity and utility of reviving Plain Handicrafts among the mass of
+the people, the painter of &quot;Mammon&quot; says:</p>
+
+<div class='blkquot'><p>&quot;... When the object is to vitalise and develop faculties&mdash;the
+     especial inheritance of the human race, but strangely dormant
+     in our time among the largest section of the community&mdash;the
+     claim becomes one that cannot be ignored. Looking at the
+     subject from a point of view commanding a wide horizon, it
+     seems to be nothing less than a social demand, rising into a
+     religious duty, to make every endeavour in the direction of
+     supplying all possible compensating consolation for the
+     routine of daily work, become so mechanical and dreary. When
+     home is without charm, and country without attaching bonds,
+     the existence of a nation is rudely shaken; dull discontent
+     leading to sullen discontent, may readily become active
+     animosity. There will not be men interested in the maintenance
+     of law and order, who feel that law and order bring them no
+     perceptible formal advantage. In the race for wealth, it has
+     been forgotten that wealth alone can offer neither dignity nor
+     permanent safety; no dignity, if the man of the population is
+     degraded by dull toil and disgraceful competition; no safety,
+     if large numbers drag on a discontented existence, while the
+     more active and intelligent leave our shores.</p>
+
+<p>     &quot;Whether or not our material wealth is to be increased or
+     diminished, it is certain that a more general well-being and
+     contentment must be striven for. A happy nation will be a
+     wealthy nation, wealthy in the best sense, in the assurance
+     that its children can be depended upon in case of need, wealth
+     above the fortune of war, and safety above the reach of
+     fortune. The rush of interest in the direction of what are
+     understood as worldly advantages, has trampled out the sense
+     of pleasure in the beautiful, and the need of its presence as
+     an element essential to the satisfaction of daily life, which
+     must have been unconsciously felt in ages less absorbed in
+     acquiring wealth for itself alone. In olden times our art
+     congresses would have been as needless as congresses to
+     impress on the general mind the advantages of money-making
+     would be in these.&quot; (<i>Plain Handicraft</i>, 1892.) </p></div>
+
+<p>In G.F. Watts, however, we have an instance of a man who, although he
+sees and is attracted by abstract principles of ethics, does not
+perceive the manner of their final application; he is not really
+scientific. It might be thought that the painter of &quot;Greed and Toil,&quot;
+&quot;The Sempstress,&quot; &quot;Mammon,&quot; &quot;The Dweller of the Innermost,&quot; and &quot;Love
+Triumphant,&quot; would be able to indicate, in that sphere of social
+activity called &quot;practical politics,&quot; how these principles could find
+their expression and realisation. It is interesting, however, to know,
+and to have it authoritatively from his own pen, that Watts at least
+could not discern either the time or the application of these ethical
+principles to the affairs of the great world; for in 1901 there appeared
+from his hand a quasi-philosophical defence of the South African War,
+entitled &quot;Our Race as Pioneers.&quot; He said:</p>
+
+<div class='blkquot'><p>&quot;Inevitable social and political measures claim obedience,
+     which may be at variance with the spiritual and ethical
+     conscience; but there comes in the question of necessity,
+     apparent laws that contest with pure right and wrong; ... and
+     as we must live, nothing remains but commerce; and commerce
+     cannot be carried on without competition, and pushing the
+     limits of our interests. The result of competition can only be
+     conflict&mdash;war, unless some other outlet can be found. Commerce
+     will not supply this; its very activity, which is its health
+     and life, will produce the ambition, envy, and jarring
+     interests that will be fatal to peace.... The principle,
+     <i>Movement</i>, must have its outlet, its safety valve. This has
+     always been war.... The goddess Trade, the modern Pandora, has
+     in her box all the evils that afflict mankind.... How can
+     Commerce, as understood by the principles of trade, abolish
+     war?&quot;</p>
+
+<p>     &quot;The simple principles of right and wrong are easily
+     defined,&quot; and perhaps easily painted; &quot;but the complexity of
+     human affairs and legitimate interests, conducing to the
+     activity demanded by the great law, <i>Movement</i>, makes some
+     elasticity necessary, even where there is the most honest
+     desire to be just.&quot; </p></div>
+
+<p>Thus, from his own words, we see how the painter transcends the
+politician; he is a stimulator, he gives hints, not instructions; he is
+commanding, imperative, but he does not show how, nor stay to devise
+ways and means. He even perceives, as he thinks, that though the
+commands of his pictures, &quot;Faith,&quot; &quot;Conscience,&quot; and &quot;Love Triumphant,&quot;
+be given, yet they cannot be obeyed fully because of &quot;Evolution&quot; and
+&quot;Destiny,&quot; or as he calls it &quot;Movement.&quot;</p>
+
+<p>To his intimate friends Watts, who was so introspective, often
+complained of &quot;the duality of my nature.&quot; In the midst of affairs,
+financial or worldly, on questions of criticism, personal conduct and
+the like, the great artist was variable and uncertain. Though humble and
+self-deprecatory to an extreme degree, he made mistakes from which he
+could escape only with great difficulty; and he suffered much from
+depression and melancholy. This man, however, never appears in the
+pictures; when once in his studio, alone facing his canvas, Watts is
+final, absolute, an undisturbed and undistracted unity, conscious of
+that overwhelming &quot;rightness&quot; known to a Hebrew prophet. Whatever Time
+or Death may have in store for him or any man, there riding swiftly
+above them is Judgment the Absolute One; whatever theories may be spun
+from the perplexed mind of the magazine writer about Expansion and
+Necessity, there sits the terrible &quot;Mammon&quot; pilloried for all time.
+Indeed, he said his pictures were &quot;for all time&quot;; they were from the
+mind and hand of the seer, who, rising from his personality, transcended
+it; and as the personality of dual nature gradually fades away into the
+forgotten past, the Messenger emerges ever more and more clearly,
+leaving his graphic testimonies spread out upon a hundred canvases. It
+might be said as a final estimate that the value and sincerity of Watts'
+work becomes intensified a hundred-fold when we remember that its
+grandeur and dignity, its unity and its calm, was the work of a man who
+seldom, if ever, attained internal peace. Like some who speak wiser than
+they know, so Watts gave himself as an instrument to inspirations of
+which he was not able, through adverse circumstances, to make full use.
+Thus was the Man divided from the Messenger.</p>
+
+<br />
+<br />
+
+<a name="image-7"><!-- Image 7 --></a>
+<p class="center">
+<a href="images/image-7.jpg" target="_blank">
+<img border="0" src="images/image-7.jpg" height="900" width="492" alt="LOVE AND LIFE" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE V.&mdash;LOVE AND LIFE</p>
+<p class="center">(At the Tate Gallery)</p>
+
+<div class='blkquot'><p style="{text-indent: 0cm}">Love, strong in his immortal youth, leads Life, a slight
+     female figure, along the steep uphill path; with his broad
+     wings he shelters her, that the winds of heaven may not visit
+     her too roughly. Violets spring where Love has trod, and as
+     they ascend to the mountain top the air becomes more and more
+     golden. The implication is that, without the aid of Divine
+     Love, fragile Human Life could not have power to ascend the
+     steep path upward. First exhibited at the Grosvenor Gallery in
+     1885. Companion picture to &quot;Love and Death,&quot; and &quot;Love
+     Triumphant.&quot; </p></div>
+
+<br />
+
+<hr />
+<a name='III'></a><h2>III</h2>
+
+<h3>A REVIEW OF WATTS' WORK</h3>
+<br />
+
+<p>Failing the &quot;Progress of the Cosmos,&quot; we have from the mind and brush of
+Watts a great number of paintings, which may be grouped according to
+their character. Such divisions must not be regarded as rigid or
+official, for often enough a picture may belong to several groups at the
+same time. For the purpose of our survey, however, we divide them as
+follows:</p>
+
+<span style='margin-left: 5.0cm;'>1. Monumental or Historical Paintings and Frescoes.</span><br />
+<span style='margin-left: 5.0cm;'>2. Humanitarian or Social Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>3. Portraits, private and public.</span><br />
+<span style='margin-left: 5.0cm;'>4. Biblical Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>5. Mythical Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>6. &quot;Pessimistic&quot; Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>7. The Great Realities.</span><br />
+<span style='margin-left: 5.0cm;'>8. The Love Series.</span><br />
+<span style='margin-left: 5.0cm;'>9. The Death Series.</span><br />
+<span style='margin-left: 5.0cm;'>10. Landscapes.</span><br />
+<span style='margin-left: 5.0cm;'>11. Unclassified Paintings.</span><br />
+<span style='margin-left: 5.0cm;'>12. Paintings of Warriors. </span><br />
+
+<br />
+
+<p>&quot;Caractacus&quot; was the first of the monumental paintings; by them Watts
+appears as a citizen and a patriot, whose insular enthusiasm extends
+backward to the time when the British chief Caractacus fought and was
+subdued by the Romans. He enters also into the spirit of the resistance
+offered to the Danes by King Alfred. George and the Dragon are included
+by him in the historical though mythical events of our race. Undoubtedly
+the most remarkable of Watts' monumental paintings is the fresco
+entitled &quot;Justice; a Hemicycle of Lawgivers,&quot; painted for the Benchers'
+Hall in Lincoln's Inn. It is 45 x 40 feet. Here Watts, taking the
+conventional and theoretical attitude, identifies law-making with
+justice, and in his fresco we see thirty-three figures, representing
+Moses, Zoroaster, Pythagoras, Confucius, Lycurgus and his fellow-Greeks,
+Numa Pompilius and other Romans. Here figures also Justinian, the maker
+of the great Code; Mahomet, King Alfred, and even Attila the Hun. The
+painting represents the close of this phase of Watts' work; he received
+a gift of &pound;500 and a gold cup in memory of its achievement. In England,
+at least, no one has ever attempted or accomplished anything in fresco
+of so great dimensions. Watts' monumental genius drove him to sculpture
+on the grand scale also. &quot;Hugh Lupus&quot; for the Duke of Westminster, and
+&quot;Physical Energy,&quot; upon which he laboured at intervals during
+twenty-five years of his life, are his great triumphs in this direction.
+It is not the first time that an artist deficient in health and strength
+has made physical energy into a demigod. Men often, perhaps always,
+idealise what they have not. It was the wish of the sculptor to place a
+cast of &quot;Physical Energy&quot; on the grave of Cecil Rhodes on the Matoppo
+Hills in South Africa, indicating how Watts found it possible (by
+idealising what he wished to idealise), to include within the scope and
+patronage of his art, the activities, aims, and interests of modern
+Colonial Enterprise.</p>
+
+<p><i>Humanitarian Paintings</i>.&mdash;The earliest of these, &quot;The Wounded Heron,&quot;
+asks our pity for the injured bird, and forbids us to join in the
+enthusiasm of the huntsman who hurries for his suffering prize. The same
+thought is expressed in the beautiful &quot;Shuddering Angel,&quot; who is
+covering his face with his hands at the sight of the mangled plumage
+scattered on the altar of fashion. In the large canvases, &quot;A Patient
+Life of Unrequited Toil,&quot; and &quot;Midday Rest,&quot; we have paintings of
+horses, both of them designed to teach us consideration for the &quot;friend
+of man.&quot; &quot;The Sempstress&quot; sings us Tom Hood's &quot;Song of the Shirt.&quot;</p>
+
+<p>&quot;The Good Samaritan&quot; (see Plate VII.) properly belongs to this series.
+It was presented by the artist to the citizens of Manchester, as an
+expression of his admiration of Thomas Wright, the prison
+philanthropist, whose work was at that time (1852) creating a sensation
+in the north of England. If we compare this painting with other Biblical
+subjects executed at a later date, we see how much Watts' work has
+gained since then. The almost smooth texture and the dark shadows of the
+Manchester picture have given way to ruggedness and transparency. Still,
+&quot;The Good Samaritan&quot; is simple and excellent in purpose and composition.</p>
+
+<p>A little known painting entitled &quot;Cruel Vengeance,&quot; seems to be a
+forecast of &quot;Mammon&quot;; a creature with human form and vulture's head
+presses under his hand a figure like the maiden whose head rests on
+Mammon's knee. In &quot;Greed and Labour&quot; the seer's eye pierces through the
+relations between the worker and his master; Labour is a fine strong
+figure loaded with the implements of his toil, with no feeling of
+subjection in his manly face; on the other hand, the miser creeping
+behind him, clutching the money bags, represents that Greed who, as
+Mammon, is seen sitting on his throne of death. &quot;Mammon&quot; is, however,
+the greatest of the three, containing in itself the ideas and forms of
+the other two. It is a terrible picture of the god to whom many bow the
+knee&mdash;&quot;dedicated to his worshippers.&quot; His leaden face shows a
+consciousness of power, but not happiness arising from power; his dull
+eyes see nothing, though his mind's eye sees one thing clearly&mdash;the
+money bags on his lap. The two frail creatures of youth and maiden,
+&quot;types of humanity&quot; as Watts said, are crushed by his heavy limbs, while
+behind a fire burns continuously, perhaps also within his massive
+breast.</p>
+
+<p><i>Portraits</i>.&mdash;In portraiture, as in other forms of art, Watts had
+distinct and peculiar views. He gradually came to the opinion, which he
+adopted as his first rule in portraiture, that it was his duty, not
+merely to copy the external features of the sitter, but to give what
+might be called an intellectual copy. He declared it to be possible and
+necessary for the sitter and painter to attain a unity of feeling and a
+sympathy, by which he (the painter) was inspired. Watts' earlier
+portraits, while being far from characterless, are not instances of the
+application of this principle. There is in them a slight tendency to
+eighteenth-century ideal portraiture, which so often took the sitter
+(and the observer too) back to times and attitudes, backgrounds and
+thunderstorms, that never were and never will be.</p>
+
+<p>Watts, however, was slightly influenced by the Pre-Raphaelite school. He
+might, had he wished, have been their portrait painter&mdash;and indeed, the
+picture of the comely Mrs. Hughes, a kind, motherly creature, with a
+background of distant fields, minutely painted, is quite on the lines of
+Pre-Raphaelite realism.</p>
+
+<br />
+<br />
+
+<a name="image-8"><!-- Image 8 --></a>
+<p class="center">
+<a href="images/image-8.jpg" target="_blank">
+<img border="0" src="images/image-8.jpg" height="900" width="515" alt="LOVE TRIUMPHANT" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE VI.&mdash;LOVE TRIUMPHANT</p>
+<p class="center">(At the Tate Gallery)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">Time and Death having travelled together through the ages,
+     have run their course and are at length overthrown. Love alone
+     arises on immortal wings, triumphantly, with outspread arms to
+     the eternal skies.</p>
+
+<p style="{text-indent: 0cm}">Given to the nation in 1900.</p></div>
+
+<br />
+
+<p>Somewhat of the same character is the portrait of Mrs. Nassau Senior,
+who, with one knee on a sofa, is shown tending flowers, her rippling
+golden hair falling over her shoulders. A full-length portrait of Miss
+Mary Kirkpatrick Brunton, dated 1842, also belongs to the old style.
+Watts had a passion for human loveliness, and in his day some of the
+great beauties sat to him. The &quot;Jersey Lily&quot; (Mrs. Langtry) with her
+simple headdress and downcast eye, appeared at the Academy of 1879.
+&quot;Miss Rachel Gurney&quot; is a wonderful portrait of a flaming soul
+imprisoned in a graceful form and graceless dress. Miss Gurney is shown
+standing, turning slightly to the right with the head again turned over
+the right shoulder, while the whole effect of energy seems to be
+concentrated in the flashing eyes. Watts was able to interpret equally
+well personalities of a very different character, and perhaps the canvas
+representing Miss Edith Villiers is one of the most successful of his
+spiritual portraits. Miss Dorothy Dene, whose complexion Watts was one
+of the first to transfer to canvas, Miss Mary Anderson, and Miss Dorothy
+Maccallum, were all triumphantly depicted. He will be known, however, as
+the citizen portrait-painter of the nineteenth century, who preserved
+for us not merely the form, but the spirit of some of the greatest men
+of his day. Lord Tennyson sat three times. In 1859 the poet was shown in
+the prime of life, his hair and beard ruffled, his look determined. In
+1864 we had another canvas&mdash;&quot;the moonlight portrait&quot;; the face is
+that of Merlin, meditative, thoughtful. As you look at it the features
+stand out with great clearness, the distance of the laurels behind his
+head can be estimated almost precisely, while seen through them is the
+gleam of the moon upon the distant water. The 1890 portrait, in
+scholastic robes, with grizzled beard, and hair diminished, is Tennyson
+the mystic, and reminds us of his &quot;Ancient Sage&quot;&mdash;</p>
+
+<div class='poem'><div class='stanza'>
+<span class='i4'>&quot;... for more than once when I<br /></span>
+<span>Sat all alone, revolving in myself<br /></span>
+<span>The word that is the symbol of myself,<br /></span>
+<span>The Mortal limit of the self was loosed<br /></span>
+<span>And passed into the Nameless, as a cloud<br /></span>
+<span>Melts into heaven.&quot;<br /></span>
+</div></div>
+
+<p>The portrait of John L. Motley, the American Minister to England in
+1869, and author of &quot;The Rise of the Dutch Republic,&quot; is one of the most
+successful paintings of handsome men; Watts here depicts perfectly the
+&quot;spiritual body&quot; of strength, purity, and appeal; the eyes are deepest
+blue, and the hair the richest brown. In this case the artist has, as he
+was so prone, fallen into symbolism even in portraiture, for we can
+trace in the background a faint picture of an old-time fighting ship.</p>
+
+<p>Another classic portrait, so different to that by Whistler, is of Thomas
+Carlyle. The sage of Chelsea sits ruffled and untidy, with his hands
+resting on the head of a stick, and his features full of power. He seems
+protesting against the few hours' idleness, and anxious to get back to
+the strenuous life. The sitter was good enough to say that the portrait
+was of &quot;a mad labourer&quot;&mdash;not an unfair criticism of a very good
+portrait.</p>
+
+<p><i>The Biblical Paintings</i> are, as before said, in partial fulfilment of
+the frustrated scheme of &quot;Cosmos.&quot; &quot;Eve Repentant,&quot; in an attitude so
+typical of grief, is perhaps the most beautiful; it is one of a trilogy,
+the others being &quot;She shall be called Woman,&quot; and &quot;Eve Tempted.&quot; It is
+singular that in these three canvases the painter avoids the attempt to
+draw the face of the mother of the race. In the first the face is
+upturned, covered in shadow; in the second it is hid from view by the
+leaves of the forbidden tree, while in the third Eve turns her back and
+hides her weeping face with her arms. This habit of Watts to obscure the
+face is observed in &quot;The Shuddering Angel,&quot; Judgment in &quot;Time, Death,
+and Judgment,&quot; in &quot;Love and Death,&quot; &quot;Sic Transit,&quot; &quot;Great Possessions,&quot;
+and some others. Often indeed a picture speaks as much of what is not
+seen as of what is seen.</p>
+
+<p>Incidents from the Gospels are represented by &quot;The Prodigal,&quot; where the
+outcast is seen crouching on the ground, his face fixed on vacuity,
+almost in the act of coming to himself. &quot;For he had Great Possessions,&quot;
+is, however, the greatest and simplest of all. There the young man who
+went away sorrowful with bowed head, scarcely knowing what he has lost,
+is used by Watts as one of his most powerful criticisms of modern life.
+Although the incident is a definite isolated one, yet the costume,
+figure, chain of office, and jewelled fingers, clutching and releasing,
+are of no time or land in particular.</p>
+
+<p>It is not a little remarkable that Watts, who had breathed so deeply the
+air of Italy, and had almost lived in company of Titian and Raphael,
+should never have attempted the figure of Christ or His apostles. This
+was, however, not without reason. His pictures were not only &quot;for all
+time,&quot; but apart from time altogether. His only specific reference to
+Christianity is his beautiful canvas, &quot;The Spirit of Christianity,&quot; in
+which he rebuked the Churches for their dissensions. A parental figure
+floats upon a cloud while four children nestle at her feet. The earth
+below is shrouded in darkness and gloom, despite the steeple tower
+raising its head above a distant village. The rebuke was immediately
+stimulated by the refusal of a certain church to employ Watts when the
+officials found he was not of their faith. In this picture Watts
+approached nearest to the Italian Madonnas both in form and colour.</p>
+
+<p><i>The Mythical Paintings</i> are, in the main, earlier than the Biblical
+series, but even here the same note of teaching is struck, and our human
+sympathies are drawn out towards the figure depicted. In one, &quot;Echo&quot;
+comes to find her lover transformed into a flower; in another, &quot;Psyche,&quot;
+through disobedience, has lost her love. She gazes regretfully at a
+feather fallen from Cupid's wing; it is a pink feather, such as might be
+taken from the plumage of the little Lord of Love who vainly opposes
+Death in his approach to the beloved one. In &quot;Psyche,&quot; Watts has made
+the pale body expressive of abject loss; there is no physical effort,
+except in the well-expanded feet, and no other thought but lost love.</p>
+
+<p>The legend of &quot;Diana and Endymion&quot; was painted three times&mdash;&quot;good,
+better, best.&quot; A shepherd loved the Moon, who in his sleep descends from
+heaven to embrace him. The canvas of 1903 must be regarded as the final
+success&mdash;the sleeping figure is more asleep, his vision more dreamlike
+and diaphanous. &quot;Orpheus and Eurydice&quot; (painted three times) is perhaps
+the greatest of his classical pictures. It is one of the few
+compositions that were considered by its author as &quot;finished.&quot; Here
+again the lover through disobedience loses his love; the falling figure
+of Eurydice is one of the most beautiful and realistic of all the series
+of Watts' nudes, and the agony of loss, the energy of struggle, are
+magnificently drawn in the figure of Orpheus. Looking at the canvas, one
+recalls the lines of the old Platonic poet-philosopher Bo&euml;thius:</p>
+
+<div class='poem'><div class='stanza'>
+<span>&quot;At length the shadowy king,<br /></span>
+<span>His sorrows pitying,<br /></span>
+<span>'He hath prevailed!' cried;<br /></span>
+<span>'We give him back his bride!<br /></span>
+<span>To him she shall belong,<br /></span>
+<span>As guerdon of his song.<br /></span>
+<span>One sole condition yet<br /></span>
+<span>Upon the boon is set;<br /></span>
+<span>Let him not turn his eyes<br /></span>
+<span>To view his hard-won prize,<br /></span>
+<span>Till they securely pass<br /></span>
+<span>The gates of Hell.' Alas!<br /></span>
+<span>What law can lovers move?<br /></span>
+<span>A higher law is love!<br /></span>
+<span>For Orpheus&mdash;woe is me!&mdash;<br /></span>
+<span>On his Eurydice&mdash;<br /></span>
+<span>Day's threshold all but won&mdash;<br /></span>
+<span>Looked, lost, and was undone!&quot;<br /></span>
+</div></div>
+
+<p>In &quot;The Minotaur,&quot; that terrible creature, half man, half bull, crushing
+with his hideous claw the body of a bird, stands ever waiting to consume
+by his cruel lust the convoy of beauteous forms coming unseen and
+unwilling over the sea to him. It is an old myth, but Watts intended it
+for a modern message. The picture was painted by him in the heat of
+indignation in three hours.</p>
+
+<p>A small but very important group of paintings, which I call &quot;The
+Pessimistic Series,&quot; begins with &quot;Life's Illusions,&quot; painted in 1849.
+&quot;It is,&quot; says Watts, &quot;an allegorical design typifying the march of human
+life.&quot; Fair visions of Beauty, the abstract embodiments of divers forms
+of Hope and Ambition, hover high in the air above the gulf which stands
+as the goal of all men's lives. At their feet lie the shattered symbols
+of human greatness and power, and upon the narrow space of earth that
+overhangs the deep abyss are figured the brighter forms of illusions
+that endure through every changing fashion of the world. A knight in
+armour pricks on his horse in quick pursuit of the rainbow-tinted bubble
+of glory; on his right are two lovers; on his left an aged student still
+pores over his work by the last rays of the dying sun; while in the
+shadow of the group may be seen the form of a little child chasing a
+butterfly.</p>
+
+<p>This picture has the merit, along with &quot;Fata Morgana,&quot; of combining the
+teaching element with one of the finest representations of woman's form
+that came from Watts' brush. He was one of those who vigorously defended
+the painting of the nude. These are some of his words:</p>
+
+<div class='blkquot'><p>&quot;One of the great missions of art&mdash;the greatest indeed&mdash;is to
+     serve the same grand and noble end as poetry by holding in
+     check that natural and ever-increasing tendency to hypocrisy
+     which is consequent upon and constantly nurtured by
+     civilisation. My aim is now, and will be to the end, not so
+     much to paint pictures which are delightful to the eye, but
+     pictures which will go to the intelligence and the
+     imagination, and kindle there what is good and noble, and
+     which will appeal to the heart. And in doing this I am forced
+     to paint the nude.&quot; </p></div>
+
+<p>&quot;Fata Morgana&quot; is a picture of Fortune or Opportunity pursued and lost
+by an ardent horseman. It was painted twice, first in the Italian style,
+and again in what must be called Watts' own style&mdash;much the finer
+effort. This picture shows us what, in the artist's view, man in this
+mortal life desires, pursues, and mostly loses. Fortune has a lock of
+hair on her forehead by which alone she may be captured, and as she
+glides mockingly along, she leads her pursuers across rock, stream,
+dale, desert, and meadow typical of life. The pursuit of the elusive is
+a favourite theme with Watts, and is set forth by the picture
+&quot;Mischief.&quot; Here a fine young man is battling for his liberty against an
+airy spirit representing Folly or Mischief. Humanity bends his neck
+beneath the enchanter's yoke&mdash;a wreath of flowers thrown round his
+neck&mdash;and is led an unwilling captive; as he follows the roses turn to
+briars about his muscular limbs, and at every step the tangle becomes
+denser, while one by one the arrows drop from his hand. The thought of
+&quot;Life's Illusions&quot; and &quot;Fata Morgana&quot; is again set forth in &quot;Sic Transit
+Gloria Mundi,&quot; where we see the body of a king whose crown, and all that
+represents to him the glory of the world, is left at death. It is not,
+however, in Watts' conception essential glory that passes away, but the
+<i>Glory of the World</i>. Upon the dark curtain that hangs behind the
+shrouded figure are words that represent his final wisdom, &quot;What I
+spent, I had; what I saved, I lost; what I gave, I have.&quot;</p>
+
+<br />
+<br />
+
+<a name="image-9"><!-- Image 9 --></a>
+<p class="center">
+<a href="images/image-9.jpg" target="_blank">
+<img border="0" src="images/image-9.jpg" height="900" width="655" alt="THE GOOD SAMARITAN" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE VII.&mdash;THE GOOD SAMARITAN</p>
+<p class="center">(At the Manchester Art Gallery)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">This is an early picture, painted in the year 1852 and
+     presented to the city of Manchester by the artist in honour of
+     the prison philanthropist, a native of that city. </p></div>
+
+<br />
+
+<p>These I call &quot;Pessimistic paintings,&quot; because they represent the true
+discovery ever waiting to be made by man, that the sum total of all that
+can be gained in man's external life&mdash;wealth, fame, strength, and
+power&mdash;that these inevitably pass from him. To know this, to see it
+clearly, to accept it, is the happiness of the pessimist, who
+thenceforward fixes his hope and bends his energies to the realisation
+of other and higher goods. In this he becomes an optimist, for this is
+the pursuit, as Watts never ceases to teach, in which man can and does
+attain his goal. Thus our prophet-painter, having seen and known and
+felt all this, having tested it in the personal and intimate life,
+brings to a triumphant close his great series, where positive rather
+than negative teaching is given.</p>
+
+<p><i>The Great Realities</i>.&mdash;We have seen in &quot;Chaos&quot; primordial matter; we
+have now from Watts' brush the origin of things on the metaphysical
+side. In &quot;The All-pervading,&quot; there sits the Spirit of the Universe,
+holding in her lap the globe of the systems, the representation of the
+last conclusions of philosophy. This mysterious picture is very low in
+tone, conforming to Watts' rule to make the colouring suit the subject.
+Here there is nothing hard or defined; the spirit of the universe is
+merely suggested or hinted at, his great wings enclose all. The
+elliptical form of this composition is seen again in &quot;Death Crowning
+Innocence&quot; and &quot;The Dweller in the Innermost,&quot; and the same expressive
+indefiniteness and lowness of the colour tones. In the latter effort we
+have the figure of Conscience, winged, dumb-faced and pensive, seated
+within a glow of light. On her forehead is the shining star, and in her
+lap the arrows which pierce through all disguises, and a trumpet that
+proclaims peace to the world. Here, therefore, is the greatest reality
+from the psychological side. We have also cosmical paintings
+representing &quot;Evolution,&quot; &quot;Progress,&quot; the &quot;Slumber of the Ages,&quot; and
+&quot;Destiny,&quot; all of them asking and answering; not indeed finally and
+dogmatically, but as Watts desired that his pictures should do,
+stimulating in the observer both the asking and the answering faculty.
+In &quot;Faith&quot; we have a companion to &quot;Hope.&quot; Wearied and saddened by
+persecutions, she washes her blood-stained feet in a running stream, and
+recognising the influence of Love in all the beauty of Nature, she feels
+that the sword is not the best argument, and takes it off. The colouring
+of this picture is rich and forcible, the maroon robe of the figure
+being one of Watts' favourite attempts.</p>
+
+<p>A satisfying picture of a little child emerging from the latest wave on
+the shore of humanity's ocean, asks the question, <i>Whence and Whither</i>.
+I reserve for &quot;Hope&quot; the final word (see Plate III.). If, as I said, the
+optimism which is spiritual and ideal springs from the pessimism which
+is material and actual, so too does Hope grow from the bosom of
+Despair. This the picture shows. Crouching on the sphere of the world
+sits the blindfold figure of a woman, bending her ear to catch the music
+of one only string preserved on her lyre. When everything has failed,
+there is Hope; and Hope looks, in Watts' teaching, for that which cannot
+fail, but which is ever triumphant, namely, Love.</p>
+
+<p><i>The Love Series</i>.&mdash;According to Watts, Love steers the boat of
+humanity, who is seen in one of his canvases tossed about and almost
+shipwrecked. Love does not do this easily, but he does it. Love, as a
+winged youth, also guides Life, a fragile maiden, up the rocky
+steep&mdash;Life, that would else fail and fall. Violets spring where Love
+has trod, and as they ascend to the mountain top the air becomes more
+golden. This picture, &quot;Love and Life&quot; (see Plate V.) was painted four
+times. &quot;Love and Death,&quot; painted three times, represents the
+irresistible figure of Death tenderly, yet firmly, entering a door where
+we know lies the beloved one. This is an eternal theme, suggested, I
+believe, by a temporal incident&mdash;the death of a young member of the
+Prinsep family. Love vainly pushes back the imperious figure; the
+protecting flowers are trodden down and the dove mourns; and with it all
+we feel that though Love fears Death, yet Death respects Love. Just as
+&quot;Love and Death&quot; are companion pictures and tell complementary truths,
+so &quot;Time, Death, and Judgment&quot; is related to &quot;Love Triumphant&quot; (see
+Plate VI.). In the one we see Time, represented by a mighty youth half
+clad in a red cloak, striding along with great vigour. His companion,
+whom he holds by the hand, is Death, the sad mother with weary, downcast
+eye and outspread lap ready to receive her load; but with neither of
+them is the final word, for Judgment, poised in the clouds, wields his
+fiery sword of eternal law and holds the balance before his hidden face.
+In &quot;Love Triumphant&quot; Love takes the place of, and transcends Judgment.
+Time and Death having travelled together through the ages, are in the
+end overthrown, and Love alone rises on immortal wings. Thus the stoical
+painter reaches his greatest height&mdash;tells his best truth.</p>
+
+<p><i>The Death Series</i>.&mdash;As may be expected, Death has no terrors for the
+fundamental Watts. Never once does Death look with hollow eyes and
+sunken cheeks, or grasp with bony fingers at the living. In &quot;Death
+Crowning Innocence,&quot; as a mother she puts her halo on the infant
+Innocence, whom she claims. Death holds a Court to which all must
+go&mdash;priest, soldier, king, cripple, beautiful woman, and young child.
+The lion must die, the civilisation be overthrown, wealth, fame, and
+pride must be let go&mdash;so Watts shows in his &quot;Court of Death&quot;; all come
+to the end of the book marked <i>Finis</i>. Death is calm and majestic, with
+angel wings, and overhead are the figures of Silence and Mystery,
+guarding, but partially revealing what is beyond the veil&mdash;sunrise and
+the star of hope; while even in the lap of Death nestles a new-born
+babe&mdash;the soul passing into new realms through the gates of Death.</p>
+
+<p>Again, Death is <i>the Messenger</i> who comes, not to terrify, but as an
+ambassador to call the soul away from this alien land, quietly touching
+the waiting soul with the finger-tips. In the beautiful &quot;Paolo and
+Francesca&quot; the lovers are seen as Dante told of them; wafted along by
+the infernal wind; of them he spoke:</p>
+
+<div class='poem'><div class='stanza'>
+<span class='i6'>&quot;... Bard! Willingly<br /></span>
+<span>I would address these two together coming,<br /></span>
+<span>Which seem so light before the wind.&quot;<br /></span>
+</div></div>
+
+<p>Francesca's reply to Dante is of Love and Death:</p>
+
+<div class='poem'><div class='stanza'>
+<span>&quot;Love, that in gentle heart is quickly learnt,<br /></span>
+<span>Entangled him by that fair form...;<br /></span>
+<span>Love, that denial takes from none beloved,<br /></span>
+<span>Caught me with pleasing him so passing well,<br /></span>
+<span>That as thou seest, he yet deserts me not.<br /></span>
+<span>Love brought us to one death.&quot;<br /></span>
+</div></div>
+
+<br />
+
+<p>Watts has admirably caught the sweetness and sorrow of this situation in
+his beautiful picture, which, again, is one of the very few he
+considered finally &quot;finished.&quot; It is almost a monochrome of blues and
+greys.</p>
+
+<p>In &quot;Time and Oblivion,&quot; one of the earliest of the symbolical paintings,
+Time is again the stalwart man of imperishable youth, while Oblivion,
+another form of Death, spreads her mantle of darkness over all, claiming
+all.</p>
+
+<p><i>Landscapes</i>.&mdash;Although Watts will ever be remembered for his
+allegorical, biblical, and portrait painting, yet he was by no means
+deficient in landscape art. Indeed, he carried into that branch of work
+his peculiar personality. Not only do his landscapes depict beautiful
+scenery in a fitting manner, joining atmosphere, sunshine, and colour,
+but they convey in an extraordinary degree the mood of Nature and of
+Man. &quot;The Sphinx by Night&quot; has an air of mystery about it that
+immediately impresses the spectator, and tells him something that cannot
+be communicated by words. The Italian and the Asiatic canvases by Watts,
+&quot;Florence,&quot; &quot;Fiesole,&quot; &quot;Correna,&quot; &quot;Cos,&quot; and &quot;Asia Minor,&quot; all induce
+the feeling of repose and happiness, and the message that Nature sends
+to her devotees comes sweetly and calmly in &quot;The Rainbow,&quot; where we look
+over an extensive valley from high ground, while heavy clouds and the
+rainbow adorn the upper air. In &quot;The Cumulus&quot; we &quot;see skyward great
+cloud masses rolling, silently swelling and mixing.&quot; They recall perhaps
+the memories of the child, to whom the mountains of the air are a
+perpetual wonder. When in Savoy in 1888, Watts painted the Alps, again
+with a cloudy sky and a rocky foreground. In this the quietude of the
+scene penetrates the beholder. English landscape, to which all true
+hearts return, was successfully depicted, both in form and spirit, by
+Watts' &quot;Landscape with Hayricks&quot; (like the Brighton Downs), a quiet
+view from the summit of a hillside, on which are seen some hayricks. But
+perhaps the highest of them all is that very peaceful idyll named &quot;All
+the air a solemn stillness holds.&quot; It was a view from the garden of
+Little Holland House. The time is sunset; a man and two horses are
+wending their way home. There are farm buildings on the left, and a
+thick wood in the background. In this one we feel how thoroughly Watts
+uses all forms as expressions of his invisible moods. In purely
+imaginative landscape, however, Watts struck his highest note. His
+&quot;Deluge&quot; canvases are wonderful attempts; in &quot;The Dove that returned in
+the Evening,&quot; the bird is the only creature seen flying across the
+dreary waste of waters, placid but for three long low waves. On the
+horizon the artist has dimly suggested the ark of Noah. &quot;Mount Ararat&quot;
+is especially worthy of mention among the landscapes.</p>
+
+<br />
+<br />
+
+<a name="image-10"><!-- Image 10 --></a>
+<p class="center">
+<a href="images/image-10.jpg" target="_blank">
+<img border="0" src="images/image-10.jpg" height="900" width="615" alt="PRAYER" /></a>
+</p>
+<p class="center" style="{font-weight: bold}">PLATE VIII.&mdash;PRAYER</p>
+<p class="center">(At the Manchester Art Gallery)</p>
+
+<div class='blkcap'><p style="{text-indent: 0cm}">This is one of the most simple and beautiful of Watts' early
+     works. The young woman is kneeling at the table, book in hand,
+     her mind absorbed in thoughts of reverence. Painted in 1860. </p></div>
+
+<br />
+
+<p>Before Watts entered upon his series of great imaginative paintings he
+had used realism for didactic purposes. In those days his work was less
+rugged than in later times, and had a delicateness and refinement which
+is seen to perfection in some of his earlier portraits. A few of these
+efforts may be mentioned. &quot;Study&quot; is the bust of a girl, with long red
+hair, looking upwards; it represents a beautiful combination of
+spirituality and human affection. &quot;The Rain it raineth every day&quot; is a
+picture of ennui and utter weariness, beautifully and sympathetically
+expressed. The colouring is very brave. In &quot;Prayer&quot; (see Plate VIII.)
+the simplicity of the treatment may lead any one to pass it by as
+something slight and conventional, but it is perhaps one of the greatest
+of this type where simplicity and spirituality are combined. In
+&quot;Choosing&quot; Watts approached very near to the summit of simplicity and
+charm. A golden-haired girl is choosing a camellia blossom; but where
+all are so beautiful it is difficult for her to decide. Great interest
+in this picture lies in the fact that it was painted in 1864, and was
+drawn from Watts' young bride Miss Ellen Terry. One is almost tempted to
+find in this picture the germ of allegory which grew to such heights in
+the artist's later efforts.</p>
+
+<p><i>The Warrior Series</i>.&mdash;Watts, like Ruskin and many other of the
+nineteenth-century philosophic artists, idealised warfare. His warriors
+are not clad in khaki; they do not crouch behind muddy earthworks. They
+are of the days before the shrapnel shell and Maxim gun; they wear
+bright steel armour, wield the sword and lance, and by preference they
+ride on horseback. Indeed, they are of no time or country, unless of the
+house of Arthur and the land of Camelot.</p>
+
+<p>We are thus able to understand the characteristic of Watts' warrior
+pictures. The first is &quot;Caractacus,&quot; the British chief; though no
+Christian, he is the earliest of Watts' heroes. The second is the
+beautiful &quot;Sir Galahad,&quot; whose strength was as the strength of ten,
+because his heart was pure. We see a knight standing bare-headed at the
+side of his white horse, gazing with rapt eyes on the vision of the Holy
+Grail, which in the gloom and solitude of the forest has suddenly dawned
+on his sight. The features of young Arthur Prinsep, with his bushy hair,
+who later became a general in the British army, can be detected in this
+wonderful and simple picture. Its composition is like a stained-glass
+window. It is of all Watts' perhaps the nearest to mysticism, and at the
+same time it is an appeal to the young to be like Sir Galahad. The
+original is in Eton College Chapel.</p>
+
+<p>In 1863 followed &quot;The Eve of Peace,&quot; in which we see a warrior of middle
+age, much like Watts himself at that time, who has lost the passion for
+warfare, sheathing his sword, glad to have it all over. The peacock
+feather that is strewn on the floor of &quot;The Court of Death,&quot; and lies by
+the bier in &quot;Sic Transit,&quot; is fastened to the warrior's casque.
+&quot;Aspiration,&quot; also taken from young Prinsep (1866), is a picture of a
+young man in the dawn of life's battle, who, wishing to be a
+standard-bearer, looks out across the plain. He sees into the great
+possibilities of human life, and the ardent spirit of life is sobered by
+the burden of responsibilities. &quot;Watchman, what of the Night?&quot; is
+another wonderful composition, representing a figure with long hair,
+clad in armour, looking out into the darkness of the night, with his
+hand grasping the hilt of the sword. The colour, low in tone, and the
+whole composition, indicate doubt and yet faith. Ellen Terry was the
+model for this painting.</p>
+
+<p>&quot;The Condottiere&quot; represents the fighting spirit of the Middle Ages.
+This soldier is, like the others, clad in armour, and is not likely to
+have a vision of the Holy Grail. His features represent the
+determination and vigour which were required of him in those ferocious
+days. &quot;The Red Cross Knight accompanying Una&quot; is a charming picture,
+representing an incident in Spenser's &quot;Fa&euml;ry Queen,&quot; but the palm must
+be given to &quot;The Happy Warrior,&quot; who is depicted at the moment of death,
+his head falling back, and his helmet unloosed, catching a glimpse of
+some angelic face, who speaks to him in terms of comfort and of peace.
+This picture, of all the others, shows how Watts has insisted on
+carrying to the very highest point of idealism the terrible activities
+of warfare:</p>
+
+<div class='poem'><div class='stanza'>
+<span>&quot;This, the Happy Warrior, this is he,<br /></span>
+<span>That every man in arms should wish to be.&quot;<br /></span>
+</div></div>
+
+<br />
+
+<p>He sent a copy, the original of which is in the Munich Gallery, to Lord
+Dufferin, whose son was killed in the South African War, and he declares
+that many bereaved mothers have thanked him for the inspiration and
+comfort it has brought to them.</p>
+
+<p>Watts' pictures are widely distributed; a roomful may be seen at the
+Tate Gallery, Millbank, S.W. Nearly all the portraits of public men are
+at the National Portrait Gallery, Trafalgar Square, London. There is a
+portrait of Thomas Carlyle in the South Kensington Museum, three or four
+pictures at the Manchester Corporation Gallery, and one at the Leicester
+Art Gallery. There are also several of Watts' best pictures in a gallery
+attached to his country house at Compton in Surrey; while his fresco
+&quot;Justice&quot; can be seen at the Benchers' Hall, Lincoln's Inn.</p>
+
+<p>Watts was conscious of the benefit he had received from the great men
+who had preceded him, and in his best moments so essentially humble,
+that in his last will and testament, and the letters of gift, he rises
+to the great height of artistic patriotism which always appeared to him
+in the light of a supreme duty.</p>
+
+<p>The former document has the following phrases: &quot;I bequeath all my
+studies and works to any provincial gallery or galleries in Great
+Britain or Ireland, which my executors shall in their discretion select,
+and to be distributed between such galleries.&quot; This Will is dated
+November 1, 1899, and relates to such works as had not already been
+disposed of. His great gift to the nation was made in 1897, accompanied
+by a characteristic letter in which he says:</p>
+
+<div class='blkquot'><p>&quot;You can have the pictures any time after next Sunday. I have
+     never regarded them as mine, but never expected they would be
+     placed anywhere until after my death, and only see now my
+     presumption and their defects and shrink from the consequences
+     of my temerity! I should certainly like to have them placed
+     together, but of course can make no conditions. One or two are
+     away, and I am a little uncertain about the sending of some
+     others; if you could spare a moment I should like to consult
+     you.&quot; </p></div>
+
+<p>A few weeks later, following a letter from the Keeper of the National
+Gallery, he writes as follows:</p>
+
+<div class='blkquot'><p>&quot;I beg to thank you and through you the Trustees and Director
+     of the National Gallery for the flattering intention of
+     placing the tablet you speak of, but while returning grateful
+     thanks for the intention of doing me this honour I should like
+     it to be felt that I have in no way desired anything but the
+     recognition that my object in work, and the offering of it,
+     has only been the hope of spending my time and exercising my
+     experience in a worthy manner, leaving to time further
+     judgment. Most certainly I desire that my pictures should be
+     seen to advantage, and have a good effect as an encouragement
+     to artists of stronger fibre and greater vitality, to pursue
+     if only occasionally a similar direction and object.&quot; </p></div>
+
+<br />
+
+<p>At the end of a long life by no means devoid of mistakes and
+disappointments, it would seem as though Watts attained to his desires.
+The man has passed away, while the witness of his aspirations remains.</p>
+
+<br />
+<br />
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK WATTS (1817-1904)***</p>
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@@ -0,0 +1,1677 @@
+The Project Gutenberg eBook, Watts (1817-1904), by William Loftus Hare
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Watts (1817-1904)
+
+Author: William Loftus Hare
+
+Release Date: September 17, 2004  [eBook #13477]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK WATTS (1817-1904)***
+
+
+E-text prepared by Juliet Sutherland, Jeannie Howse, and the Project
+Gutenberg Online Distributed Proofreading Team
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 13477-h.htm or 13477-h.zip:
+      (https://www.gutenberg.org/dirs/1/3/4/7/13477/13477-h/13477-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/1/3/4/7/13477/13477-h.zip)
+
+
+
+
+
+WATTS (1817-1904)
+
+by
+
+W. LOFTUS HARE
+
+Illustrated with Eight Reproductions in Colour
+
+
+
+
+
+
+
+[Illustration: PLATE I.--DEATH CROWNING INNOCENCE
+
+(Frontispiece)
+
+     A little child lying in the lap of the winged figure of Death.
+     Death, ever to Watts a silent angel of pity, "takes charge of
+     Innocence, placing it beyond the reach of evil." It was first
+     exhibited at the Winter Exhibition of the New Gallery, 1896,
+     and was given to the nation in 1897. It is now at the Tate
+     Gallery.]
+
+
+
+
+MASTERPIECES IN COLOUR
+
+EDITED BY T. LEMAN HARE
+
+"MASTERPIECES IN COLOUR" SERIES
+
+ARTIST.              AUTHOR.
+VELAZQUEZ.           S.L. BENSUSAN.
+REYNOLDS.            S.L. BENSUSAN.
+TURNER.              C. LEWIS HIND.
+ROMNEY.              C. LEWIS HIND.
+GREUZE.              ALYS EYRE MACKLIN.
+BOTTICELLI.          HENRY B. BINNS.
+ROSSETTI.            LUCIEN PISSARRO.
+BELLINI.             GEORGE HAY.
+FRA ANGELICO.        JAMES MASON.
+REMBRANDT.           JOSEF ISRAELS.
+LEIGHTON.            A. LYS BALDRY.
+RAPHAEL.             PAUL G. KONODY.
+HOLMAN HUNT.         MARY E. COLERIDGE.
+TITIAN.              S.L. BENSUSAN.
+MILLAIS.             A. LYS BALDRY.
+CARLO DOLCI.         GEORGE HAY.
+GAINSBOROUGH.        MAX ROTHSCHILD.
+TINTORETTO.          S.L. BENSUSAN.
+LUINI.               JAMES MASON.
+FRANZ HALS.          EDGCUMBE STALEY.
+VAN DYCK.            PERCY M. TURNER.
+LEONARDO DA VINCI.   M.W. BROCKWELL.
+RUBENS.              S.L. BENSUSAN.
+WHISTLER.            T. MARTIN WOOD.
+HOLBEIN.             S.L. BENSUSAN.
+BURNE-JONES.         A. LYS BALDRY.
+VIGEE LE BRUN.       C. HALDANE MACFALL.
+CHARDIN.             PAUL G. KONODY.
+FRAGONARD.           C. HALDANE MACFALL.
+MEMLINC.             W.H.J. & J.C. WEALE.
+CONSTABLE.           C. LEWIS HIND.
+RAEBURN.             JAMES L. CAW.
+JOHN S. SARGENT.     T. MARTIN WOOD.
+LAWRENCE.            S.L. BENSUSAN.
+DUERER.               H.E.A. FURST.
+MILLET.              PERCY M. TURNER.
+WATTEAU.             C. LEWIS HIND.
+HOGARTH.             C. LEWIS HIND.
+MURILLO.             S.L. BENSUSAN.
+WATTS.               W. LOFTUS HARE.
+INGRES.              A.J. FINBERG.
+
+Others in Preparation.
+
+The Publishers have to acknowledge the permission of Mrs.
+Watts to reproduce the series of paintings here included.
+
+
+
+[Illustration: IN SEMPITERNUM.]
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+I. Death crowning Innocence      Frontispiece
+    At the Tate Gallery
+
+II. The Minotaur
+    At the Tate Gallery
+
+III. Hope
+    At the Tate Gallery
+
+IV. Thomas Carlyle
+    At the South Kensington Museum
+
+V. Love and Life
+    At the Tate Gallery
+
+VI. Love Triumphant
+    At the Tate Gallery
+
+VII. The Good Samaritan
+    At the Manchester Art Gallery
+
+VIII. Prayer
+    At the Manchester Art Gallery
+
+
+[Illustration]
+
+
+
+
+I
+
+A BIOGRAPHICAL OUTLINE
+
+
+In July of 1904 the eighty-seven mortal years of George Frederick Watts
+came to an end. He had outlived all the contemporaries and acquaintances
+of his youth; few, even among the now living, knew him in his middle
+age; while to those of the present generation, who knew little of the
+man though much of his work, he appeared as members of the Ionides
+family, thus inaugurating the series of private and public portraits for
+which he became so famous. The Watts of our day, however, the teacher
+first and the painter afterwards, had not yet come on the scene. His
+first aspiration towards monumental painting began in the year 1843,
+when in a competition for the decoration of the Houses of Parliament he
+gained a prize of L300 for his cartoon of "Caractacus led Captive
+through the Streets of Rome." At this time, when history was claiming
+pictorial art as her servant and expositor, young Watts carried off the
+prize against the whole of his competitors. This company included the
+well-known historical painter Haydon, who, from a sense of the
+impossibility of battling against his financial difficulties, and from
+the neglect, real or fancied, of the leading politicians, destroyed
+himself by his own hand.
+
+The L300 took the successful competitor to Italy, where for four years
+he remained as a guest of Lord Holland. Glimpses of the Italy he gazed
+upon and loved are preserved for us in a landscape of the hillside town
+of Fiesole with blue sky and clouds, another of a castellated villa
+and mountains near Florence, and a third of the "Carrara Mountains
+near Pisa"; while of his portraiture of that day, "Lady Holland" and
+"Lady Dorothy Nevill" are relics of the Italian visit.
+
+[Illustration: PLATE II.--THE MINOTAUR
+
+     In this terrible figure, half man, half bull, gazing over the
+     sea from the battlement of a hill tower, we see the artist's
+     representation of the greed and lust associated with modern
+     civilisations. The picture was exhibited at the Winter
+     Exhibition of the New Gallery, 1896, and formed part of the
+     Watts Gift in 1897. It hangs in the Watts Room at the Tate
+     Gallery.]
+
+Italy, and particularly Florence, was perpetual fascination and
+inspiration to Watts. There he imbibed the influences of Orcagna and
+Titian--influences, indeed, which were clearly represented in the next
+monumental painting which he attempted. It came about that Lord Holland
+persuaded his guest to enter a fresh competition for the decoration of
+the Parliament Houses, and Watts carried off the prize with his "Alfred
+inciting the Saxons to resist the landing of the Danes." The colour and
+movement of the great Italian masters, conspicuously absent from the
+"Caractacus" cartoon, were to be seen in this new effort, where, as has
+been said, the English king stands like a Raphaelesque archangel in the
+midst of the design.
+
+In 1848 Watts had attained, one might almost say, the position of
+official historical painter to the State, a post coveted by the
+unfortunate Haydon; and he received a commission to paint a fresco of
+"St. George overcomes the Dragon," which was not completed till 1853.
+In this year he contributed as an appendix to the Diary of Haydon--in
+itself an exciting document, showing how wretched the life of an
+official painter then might be--a note telling of the state of
+historical and monumental painting in the 'forties, and of his own
+attitude towards it; a few of his own words, written before the days of
+the "poster," may be usefully quoted here:
+
+     ON THE PUBLIC EMPLOYMENT OF ARTISTS
+
+     Patriots and statesmen alike forget that the time will come
+     when the want of great art in England will produce a gap sadly
+     defacing the beauty of the whole national structure....
+
+     Working, for example, as an historian to record England's
+     battles, Haydon would, no doubt, have produced a series of
+     mighty and instructive pictures....
+
+     Why should not the Government of a mighty country undertake
+     the decoration of all the public buildings, such as Town
+     Halls, National Schools, and even Railway Stations....
+
+     ... Or considering the walls as slates whereon the school-boy
+     writes his figures, the great productions of other times might
+     be reproduced, if but to be rubbed out when fine originals
+     could be procured; for the expense would very little exceed
+     that of whitewashing....
+
+     If, for example, on some convenient wall the whole line of
+     British sovereigns were painted--were monumental effigies
+     well and correctly drawn, with date, length of reign,
+     remarkable events written underneath, these worthy objects
+     would be attained--intellectual exercise, decoration of space,
+     and instruction to the public.
+
+The year 1848 was a critical time for Watts; his first allegorical
+picture, "Time and Oblivion," was painted, and, in the year following,
+"Life's Illusions" appeared on the walls of the famous Academy which
+contained the first works of the Pre-Raphaelite Brotherhood. Watts was
+not of the party, though he might have been had he desired; he preferred
+independence.
+
+Watts' personal life was at this time pervaded by the influence of Lord
+and Lady Holland, who, having returned from Florence to London, had him
+as a constant visitor to Holland House. In 1850 he went to live at The
+Dower House, an old building in the fields of Kensington. There, as a
+guest of the Prinsep family, he set up as a portrait painter. His host
+and family connections were some of the first to sit for him; and he
+soon gained fame in this class of work.
+
+There was a temporary interruption in 1856, when a journey to the East,
+in company with Sir Charles Newton, for the purpose of opening the
+buried Temple of Mausolus at Halicarnassus, gave Watts further insight
+into the old Greek world; and, one cannot but think, stimulated his
+efforts, later so successful, in depicting for us so many incidents in
+classical lore. We have, in a view of a mountainous coast called "Asia
+Minor," and another, "The Isle of Cos," two charming pictorial records
+of this important expedition. The next six years of the artist's life
+were spent as a portrait painter; not, indeed, if one may say so, as a
+professional who would paint any one's portrait, but as a friend, who
+loved to devote himself to his friends.
+
+In pursuance of his principles touching monumental work, Watts engaged
+himself over a period of five years on the greatest and the last of his
+civic paintings--namely, the "Justice; a Hemicycle of Lawgivers," to
+which I shall later refer.
+
+Watts was a man who seems to have enjoyed in a singular degree the great
+privilege of friendship, which while it has its side of attachment, has
+also its side of detachment. Even in his youthful days he never "settled
+down," but was a visitor and guest rather than an attached scholar and
+student at the schools and studies. It is told of him that when just
+about to leave Florence, after a short visit, he casually presented a
+letter of introduction to Lord Holland, which immediately led to a four
+years' stay there, and this friendship lasted for many years after the
+ambassador's return to England. Other groups of friends, represented by
+the Ionides, the Prinseps, the Seniors, and the Russell Barringtons,
+seemed to have possessed him as their special treasure, in whose
+friendship he passed a great part of his life. Two great men, the
+titular chiefs of poetry and painting, were much impressed by him, and
+drew from him great admiration--Tennyson and Leighton; from the latter
+he learned much; in the sphere of music, of which Watts was passionately
+fond, there stands out Joachim the violinist.
+
+Watts used to recall, as the happiest time in his life, his youthful
+days as a choral singer; and he always regretted that he had not become
+a musician. Besides being fond of singing he declared that he constantly
+heard (or felt) mystic music--symphonies, songs, and chorales. Only
+once did he receive a _vision_ of a picture--idea, composition and
+colours--that was "Time, Death, and Judgment." Music, after all, is
+nearer to the soul of the intuitive man than any of the arts, and Watts
+felt this deeply. He also had considerable dramatic talent.
+
+In 1864 some friends found for Watts a bride in the person of Miss Ellen
+Terry. The painter and the youthful actress were married in Kensington
+in February of that year, and Watts took over Little Holland House. The
+marriage, however, was irksome, both to the middle-aged painter and the
+vivacious child of sixteen, whose words, taken from her autobiography,
+are the best comment we possess on this incident:
+
+     "Many inaccurate stories have been told of my brief married
+     life, and I have never contradicted them--they were so
+     manifestly absurd. Those who can imagine the surroundings into
+     which I, a raw girl, undeveloped in all except my training as
+     an actress, was thrown, can imagine the situation.... I
+     wondered at the new life and worshipped it because of its
+     beauty. When it suddenly came to an end I was thunderstruck;
+     and refused at first to consent to the separation which was
+     arranged for me in much the same way as my marriage had
+     been.... There were no vulgar accusations on either side, and
+     the words I read in the deed of separation, 'incompatibility
+     of temper,' more than covered the ground. Truer still would
+     have been 'incompatibility of _occupation_,' and the
+     interference of well-meaning friends.
+
+     "'The marriage was not a happy one,' they will probably say
+     after my death, and I forestall them by saying that it was in
+     many ways very happy indeed. What bitterness there was effaced
+     itself in a very remarkable way." (_The Story of My Life_,
+     1908.)
+
+In 1867, at the age of fifty, without his application or knowledge,
+Watts was made an Associate, and in the following year a full Member, of
+the Royal Academy. Younger men had preceded him in this honour, but
+doubtless Watts' modesty and independence secured for him a certain
+amount of official neglect. The old studio in Melbury Road, Kensington,
+was pulled down in 1868, and a new house was built suited to the painter
+who had chosen for himself a hermit life. The house was built in such a
+way as would avoid the possibility of entertaining guests, and was
+entirely dedicated to work. Watts continued his series of official
+portraits, and many of the most beautiful mythical paintings followed
+this change. Five years later, Watts was found at Freshwater in the Isle
+of Wight, and in 1876 he secured what he had so long needed, the
+sympathetic help and co-operation in his personal and artistic aims, in
+Mr. and Mrs. Russell Barrington, his neighbours.
+
+In 1877 Watts decided, in conformity with his views on patriotic art, to
+give his pictures to the nation, and there followed shortly after, in
+1881 and 1882, exhibitions of his works in Whitechapel and the Grosvenor
+Gallery. A leaflet entitled "What should a picture say?" issued with the
+approval of Watts, in connection with the Whitechapel Exhibition, has a
+characteristic answer to the question put to him.
+
+     "Roughly speaking, a picture must be regarded in the same
+     light as written words. It must speak to the beholder and tell
+     him something.... If a picture is a representation only, then
+     regard it from that point of view only. If it treats of a
+     historical event, consider whether it fairly tells its tale.
+     Then there is another class of picture, that whose purpose is
+     to convey suggestion and idea. You are not to look at that
+     picture as an actual representation of facts, for it comes
+     under the same category of dream visions, aspirations, and we
+     have nothing very distinct except the sentiment. If the
+     painting is bad--the writing, the language of art, it is a
+     pity. The picture is then not so good as it should be, but the
+     thought is there, and the thought is what the artist wanted to
+     express, and it is or should be impressed on the spectator."
+
+In 1886 his pictures were exhibited in New York, where they created a
+great sensation; but incidents connected with the exhibition, and
+criticisms upon it, caused the artist much nervous distress.
+
+[Illustration: PLATE III.--HOPE
+
+(At the Tate Gallery)
+
+     At the first glance it is rather strange that such a picture
+     should bear such a title, but the imagery is perfectly true.
+     The heavens are illuminated by a solitary star, and Hope bends
+     her ear to catch the music from the last remaining string of
+     her almost shattered lyre. The picture was painted in 1885 and
+     given to the nation in 1897. A very fine duplicate is in the
+     possession of Mrs. Rushton.]
+
+It was a peculiar difficulty of his nature which led him to insist, on
+the occasions of the London and provincial exhibitions of his pictures,
+that the borrowers were to make all arrangements with his frame-maker,
+that he should not be called upon to act in any way, and that no
+personal reference should be introduced. Watts always considered himself
+a private person; he disliked public functions and fled from them if
+there were any attempt to draw attention to him. His habits of work were
+consistent with these unusual traits. At sunrise he was at his easel.
+During the hot months of summer he was hard at work in his London
+studio, leaving for the country only for a few weeks during foggy
+weather.
+
+At the age of sixty-nine Watts married Miss Mary Fraser-Tytler, with
+whom he journeyed to Egypt, painting there a study of the "Sphinx," one
+of the cleverest of his landscapes. Three years after his return, he
+settled at Limnerslease, Compton, in Surrey, where he took great
+interest in the attempt to revive industrial art among the rural
+population.
+
+Twice, in 1885 and 1894, the artist refused, for private reasons, the
+baronetcy that other artists had accepted. He lived henceforth and died
+the untitled patriot and artist, George Frederick Watts.
+
+
+
+
+II
+
+THE MAN AND THE MESSENGER
+
+
+Having given in the preceding pages the briefest possible outline of the
+life of Watts as a man amongst men, we are now able to come to closer
+quarters. He was essentially a messenger--a teacher, delivering to the
+world, in such a manner that his genius and temperament made possible,
+ideas which had found their place in his mind. He would have been the
+first to admit that without these ideas he would be less than nothing.
+
+If it were possible to bring together all the external acts of the
+painter's life, his journeyings to and fro, his making and his losing
+friends, we should have insufficient data to enable us to understand
+Watts' message; his great ambitions, his constant failures, his intimate
+experiences, his reflections and determinations--known to none but
+himself--surely these, the internal life of Watts, are the real sources
+of his message? True, he was in the midst of the nineteenth century,
+breathing its atmosphere, familiar with the ideals of its great men,
+doubting, questioning, and hoping with the rest. To him, as to many a
+contemporary stoic, the world was in a certain sense an alien ground,
+and mortal life was to be stoically endured and made the best of. It is
+impossible to believe, however, that this inspiring and prophetic
+painter reproduced and handed on merely that which his time and society
+gave him. His day and his associates truly gave him much; the past and
+his heredity made their contributions; but we must believe that the
+purest gold was fired in the crucible of his inner experience, his joys
+and his sufferings. In him was accomplished that great discovery which
+the philosophers have called Pessimism; he not only saw in other men (as
+depicted in his memorable canvas of 1849), but he experienced in himself
+the transitory life's illusions. To Watts, the serious man of fifty
+years, Love and Death, Faith and Hope, Aspiration, Suffering, and
+Remorse, were not, as to the eighteenth-century rhymester, merely Greek
+ladies draped in flowing raiment; to him they were realities, intensely
+focussed in himself. Watts was giving of himself, of his knowledge and
+observation of what Love is and does, and how Death appears so
+variously; and who but a man who knew the melancholy of despair could
+paint that picture "Hope"?
+
+Immediately after the central crisis of his personal life appeared the
+canvas entitled "Fata Morgana," illustrative of a knight in vain pursuit
+of a phantom maiden; and before long there was from his brush the
+pictured story of a lost love, "Orpheus and Eurydice," one of the
+saddest of all myths, but, one feels, no old myth to him.
+
+By a more careful analysis of the artist's work we hope to learn the
+teaching Watts set himself to give, and to ascertain the means that he
+adopted; but one point needs to be made clear at this stage, namely,
+that although Watts was a great teacher, yet he was not a revolutionary.
+The ideals he held up were not new or strange, but old, well-tried, one
+might almost say conventional. They represent the ideals which, in the
+friction and turmoil of ages, have emerged as definite, clear, final.
+They are not disputed or dubious notions, but accepted truisms forgotten
+and neglected, waiting for the day when men shall live by them.
+
+Furthermore, Watts was not in any sense a mystic--neither personally or
+as an artist. "The Dweller in the Innermost" is not the transcendental
+self known to a few rare souls, but is merely conscience, known to all.
+The biblical paintings have no secret meaning assigned to them. The
+inhabitants of Eden, the hero of the Deluge, the Hebrew patriarchs,
+Samson and Satan--all these are the familiar figures of the
+evangelical's Bible. "Eve Repentant" is the woman Eve, the mother of the
+race; "Jacob and Esau" are the brothers come to reconciliation; "Jonah"
+is the prophet denouncing the Nineveh of his day and the Babylon of
+this. The teaching--and there is teaching in every one of them--is plain
+and ethical. So also, with the Greek myths; they teach plainly--they
+hold no esoteric interpretations. Watts is no Neo-Platonist weaving
+mystical doctrines from the ancient hero tales; he is rather a stoic, a
+moralist, a teacher of earthly things.
+
+But we must be careful to guard against the impression of Watts as a
+lofty philosopher consciously issuing proclamations by means of his art.
+Really he was not aware of being a philosopher at all; he was simply an
+artist, an exquisitely delicate and sensitive medium, who, when once
+before his canvas, suddenly filled with his idea, was compelled to say
+his word. If there be any synthesis about his finished work--and no one
+can deny this--it was not because Watts gave days and nights and years
+to "thinking things out." His paintings are, as he used to call them,
+"anthems," brought forth by the intuitive man, the musician. This was
+the fundamental Watts. Whatever unity there be, is due rather to unity
+of inspiration than to strength or definiteness of character and
+accomplishment, and this was sometimes referred to by Watts as a golden
+thread passing through his life--a thread of good intention--which he
+felt would guide him through the labyrinth of distractions, mistakes,
+irritations, ill health, and failures.
+
+One of the striking incidents in the life of Watts was his offer to
+decorate Euston Railway Station with frescoes entitled "The Progress of
+Cosmos." "Chaos" we have in the Tate Gallery, full of suggestiveness and
+interest. We see a deep blue sky above the distant mountains, gloriously
+calm and everlasting; in the middle distance to the left is a nebulous
+haze of light, while in the foreground the rocks are bursting open and
+the flames rush through. Figures of men, possessed by the energy and
+agony of creation, are seen wrestling with the elements of fire and
+earth. One of these figures, having done his work, floats away from the
+glow of the fire across the transparent water, while others of his
+creative family have quite passed the struggling stage of movement and
+are reclining permanent and gigantic to the right of the picture. The
+same idea is repeated in the chain of draped women who are emerging from
+the watery deep; at first they are swept along in isolation, then they
+fly in closer company, next they dance and finally walk in orderly
+procession. But Chaos, for all this, is a unity; of all material forms
+it is the most ancient form; Cosmos however is the long-drawn tale
+beginning with the day when "The Spirit of God brooded on the face of
+the waters." Cosmos might have been Watts' synthetic pictorial
+philosophy; Herbert Spencer with his pen, and he with his brush, as it
+were, should labour side by side. But this was not to be; the Directors
+of the North-Western Railway declined the artist's generous offer, and
+he had to get his "Cosmos" painted by degrees. On the whole, perhaps, we
+should be thankful that the railway company liberated Watts from this
+self-imposed task. We remember that Dante in his exile set out to write
+"Il Convivio," a Banquet of so many courses that one might tremble at
+the prospect of sitting down to it; the four treatises we have are
+interesting, though dry as dust; but if Dante had finished his Banquet,
+he might never have had time for his "Divine Comedy"; so perhaps, after
+all, we shall be well content to be without Watts' "Cosmos," remembering
+what we have gained thereby. Besides, the continuous and spontaneous
+self-revelation of an artist or a poet is sometimes truer than a rigid
+predetermined plan.
+
+[Illustration: PLATE IV.--THOMAS CARLYLE
+
+(At the South Kensington Museum)
+
+     This canvas was painted in 1868, and is the earlier of the two
+     portraits of the famous historian painted by Watts. It formed
+     part of the Foster Bequest. It is interesting to compare this
+     with the painting in the National Portrait Gallery.]
+
+A few words from the pen of the artist, appearing by way of preface to a
+book, "A Plain Handicraft," may here be quoted to indicate the strong
+views Watts took on the "Condition-of-England Question." His interest in
+art was not centred in painting, or sculpture, or himself, or his fellow
+artists. He believed in the sacred mission of art as applied to profane
+things. We see how closely he adheres to the point of view made so
+famous by Ruskin. Both Watts and Ruskin, one feels, belong rather to the
+days of Pericles, when everything was best in the state because the
+citizens gave themselves up to it and to each other. Writing of the
+necessity and utility of reviving Plain Handicrafts among the mass of
+the people, the painter of "Mammon" says:
+
+     "... When the object is to vitalise and develop faculties--the
+     especial inheritance of the human race, but strangely dormant
+     in our time among the largest section of the community--the
+     claim becomes one that cannot be ignored. Looking at the
+     subject from a point of view commanding a wide horizon, it
+     seems to be nothing less than a social demand, rising into a
+     religious duty, to make every endeavour in the direction of
+     supplying all possible compensating consolation for the
+     routine of daily work, become so mechanical and dreary. When
+     home is without charm, and country without attaching bonds,
+     the existence of a nation is rudely shaken; dull discontent
+     leading to sullen discontent, may readily become active
+     animosity. There will not be men interested in the maintenance
+     of law and order, who feel that law and order bring them no
+     perceptible formal advantage. In the race for wealth, it has
+     been forgotten that wealth alone can offer neither dignity nor
+     permanent safety; no dignity, if the man of the population is
+     degraded by dull toil and disgraceful competition; no safety,
+     if large numbers drag on a discontented existence, while the
+     more active and intelligent leave our shores.
+
+     "Whether or not our material wealth is to be increased or
+     diminished, it is certain that a more general well-being and
+     contentment must be striven for. A happy nation will be a
+     wealthy nation, wealthy in the best sense, in the assurance
+     that its children can be depended upon in case of need, wealth
+     above the fortune of war, and safety above the reach of
+     fortune. The rush of interest in the direction of what are
+     understood as worldly advantages, has trampled out the sense
+     of pleasure in the beautiful, and the need of its presence as
+     an element essential to the satisfaction of daily life, which
+     must have been unconsciously felt in ages less absorbed in
+     acquiring wealth for itself alone. In olden times our art
+     congresses would have been as needless as congresses to
+     impress on the general mind the advantages of money-making
+     would be in these." (_Plain Handicraft_, 1892.)
+
+In G.F. Watts, however, we have an instance of a man who, although he
+sees and is attracted by abstract principles of ethics, does not
+perceive the manner of their final application; he is not really
+scientific. It might be thought that the painter of "Greed and Toil,"
+"The Sempstress," "Mammon," "The Dweller of the Innermost," and "Love
+Triumphant," would be able to indicate, in that sphere of social
+activity called "practical politics," how these principles could find
+their expression and realisation. It is interesting, however, to know,
+and to have it authoritatively from his own pen, that Watts at least
+could not discern either the time or the application of these ethical
+principles to the affairs of the great world; for in 1901 there appeared
+from his hand a quasi-philosophical defence of the South African War,
+entitled "Our Race as Pioneers." He said:
+
+     "Inevitable social and political measures claim obedience,
+     which may be at variance with the spiritual and ethical
+     conscience; but there comes in the question of necessity,
+     apparent laws that contest with pure right and wrong; ... and
+     as we must live, nothing remains but commerce; and commerce
+     cannot be carried on without competition, and pushing the
+     limits of our interests. The result of competition can only be
+     conflict--war, unless some other outlet can be found. Commerce
+     will not supply this; its very activity, which is its health
+     and life, will produce the ambition, envy, and jarring
+     interests that will be fatal to peace.... The principle,
+     _Movement_, must have its outlet, its safety valve. This has
+     always been war.... The goddess Trade, the modern Pandora, has
+     in her box all the evils that afflict mankind.... How can
+     Commerce, as understood by the principles of trade, abolish
+     war?"
+
+     "The simple principles of right and wrong are easily
+     defined," and perhaps easily painted; "but the complexity of
+     human affairs and legitimate interests, conducing to the
+     activity demanded by the great law, _Movement_, makes some
+     elasticity necessary, even where there is the most honest
+     desire to be just."
+
+Thus, from his own words, we see how the painter transcends the
+politician; he is a stimulator, he gives hints, not instructions; he is
+commanding, imperative, but he does not show how, nor stay to devise
+ways and means. He even perceives, as he thinks, that though the
+commands of his pictures, "Faith," "Conscience," and "Love Triumphant,"
+be given, yet they cannot be obeyed fully because of "Evolution" and
+"Destiny," or as he calls it "Movement."
+
+To his intimate friends Watts, who was so introspective, often
+complained of "the duality of my nature." In the midst of affairs,
+financial or worldly, on questions of criticism, personal conduct and
+the like, the great artist was variable and uncertain. Though humble and
+self-deprecatory to an extreme degree, he made mistakes from which he
+could escape only with great difficulty; and he suffered much from
+depression and melancholy. This man, however, never appears in the
+pictures; when once in his studio, alone facing his canvas, Watts is
+final, absolute, an undisturbed and undistracted unity, conscious of
+that overwhelming "rightness" known to a Hebrew prophet. Whatever Time
+or Death may have in store for him or any man, there riding swiftly
+above them is Judgment the Absolute One; whatever theories may be spun
+from the perplexed mind of the magazine writer about Expansion and
+Necessity, there sits the terrible "Mammon" pilloried for all time.
+Indeed, he said his pictures were "for all time"; they were from the
+mind and hand of the seer, who, rising from his personality, transcended
+it; and as the personality of dual nature gradually fades away into the
+forgotten past, the Messenger emerges ever more and more clearly,
+leaving his graphic testimonies spread out upon a hundred canvases. It
+might be said as a final estimate that the value and sincerity of Watts'
+work becomes intensified a hundred-fold when we remember that its
+grandeur and dignity, its unity and its calm, was the work of a man who
+seldom, if ever, attained internal peace. Like some who speak wiser than
+they know, so Watts gave himself as an instrument to inspirations of
+which he was not able, through adverse circumstances, to make full use.
+Thus was the Man divided from the Messenger.
+
+[Illustration: PLATE V.--LOVE AND LIFE
+
+(At the Tate Gallery)
+
+     Love, strong in his immortal youth, leads Life, a slight
+     female figure, along the steep uphill path; with his broad
+     wings he shelters her, that the winds of heaven may not visit
+     her too roughly. Violets spring where Love has trod, and as
+     they ascend to the mountain top the air becomes more and more
+     golden. The implication is that, without the aid of Divine
+     Love, fragile Human Life could not have power to ascend the
+     steep path upward. First exhibited at the Grosvenor Gallery in
+     1885. Companion picture to "Love and Death," and "Love
+     Triumphant."]
+
+
+
+
+III
+
+A REVIEW OF WATTS' WORK
+
+
+Failing the "Progress of the Cosmos," we have from the mind and brush of
+Watts a great number of paintings, which may be grouped according to
+their character. Such divisions must not be regarded as rigid or
+official, for often enough a picture may belong to several groups at the
+same time. For the purpose of our survey, however, we divide them as
+follows:
+
+     1. Monumental or Historical Paintings and Frescoes.
+     2. Humanitarian or Social Paintings.
+     3. Portraits, private and public.
+     4. Biblical Paintings.
+     5. Mythical Paintings.
+     6. "Pessimistic" Paintings.
+     7. The Great Realities.
+     8. The Love Series.
+     9. The Death Series.
+     10. Landscapes.
+     11. Unclassified Paintings.
+     12. Paintings of Warriors.
+
+"Caractacus" was the first of the monumental paintings; by them Watts
+appears as a citizen and a patriot, whose insular enthusiasm extends
+backward to the time when the British chief Caractacus fought and was
+subdued by the Romans. He enters also into the spirit of the resistance
+offered to the Danes by King Alfred. George and the Dragon are included
+by him in the historical though mythical events of our race. Undoubtedly
+the most remarkable of Watts' monumental paintings is the fresco
+entitled "Justice; a Hemicycle of Lawgivers," painted for the Benchers'
+Hall in Lincoln's Inn. It is 45 x 40 feet. Here Watts, taking the
+conventional and theoretical attitude, identifies law-making with
+justice, and in his fresco we see thirty-three figures, representing
+Moses, Zoroaster, Pythagoras, Confucius, Lycurgus and his fellow-Greeks,
+Numa Pompilius and other Romans. Here figures also Justinian, the maker
+of the great Code; Mahomet, King Alfred, and even Attila the Hun. The
+painting represents the close of this phase of Watts' work; he received
+a gift of L500 and a gold cup in memory of its achievement. In England,
+at least, no one has ever attempted or accomplished anything in fresco
+of so great dimensions. Watts' monumental genius drove him to sculpture
+on the grand scale also. "Hugh Lupus" for the Duke of Westminster, and
+"Physical Energy," upon which he laboured at intervals during
+twenty-five years of his life, are his great triumphs in this direction.
+It is not the first time that an artist deficient in health and strength
+has made physical energy into a demigod. Men often, perhaps always,
+idealise what they have not. It was the wish of the sculptor to place a
+cast of "Physical Energy" on the grave of Cecil Rhodes on the Matoppo
+Hills in South Africa, indicating how Watts found it possible (by
+idealising what he wished to idealise), to include within the scope and
+patronage of his art, the activities, aims, and interests of modern
+Colonial Enterprise.
+
+_Humanitarian Paintings_.--The earliest of these, "The Wounded Heron,"
+asks our pity for the injured bird, and forbids us to join in the
+enthusiasm of the huntsman who hurries for his suffering prize. The same
+thought is expressed in the beautiful "Shuddering Angel," who is
+covering his face with his hands at the sight of the mangled plumage
+scattered on the altar of fashion. In the large canvases, "A Patient
+Life of Unrequited Toil," and "Midday Rest," we have paintings of
+horses, both of them designed to teach us consideration for the "friend
+of man." "The Sempstress" sings us Tom Hood's "Song of the Shirt."
+
+"The Good Samaritan" (see Plate VII.) properly belongs to this series.
+It was presented by the artist to the citizens of Manchester, as an
+expression of his admiration of Thomas Wright, the prison
+philanthropist, whose work was at that time (1852) creating a sensation
+in the north of England. If we compare this painting with other Biblical
+subjects executed at a later date, we see how much Watts' work has
+gained since then. The almost smooth texture and the dark shadows of the
+Manchester picture have given way to ruggedness and transparency. Still,
+"The Good Samaritan" is simple and excellent in purpose and composition.
+
+A little known painting entitled "Cruel Vengeance," seems to be a
+forecast of "Mammon"; a creature with human form and vulture's head
+presses under his hand a figure like the maiden whose head rests on
+Mammon's knee. In "Greed and Labour" the seer's eye pierces through the
+relations between the worker and his master; Labour is a fine strong
+figure loaded with the implements of his toil, with no feeling of
+subjection in his manly face; on the other hand, the miser creeping
+behind him, clutching the money bags, represents that Greed who, as
+Mammon, is seen sitting on his throne of death. "Mammon" is, however,
+the greatest of the three, containing in itself the ideas and forms of
+the other two. It is a terrible picture of the god to whom many bow the
+knee--"dedicated to his worshippers." His leaden face shows a
+consciousness of power, but not happiness arising from power; his dull
+eyes see nothing, though his mind's eye sees one thing clearly--the
+money bags on his lap. The two frail creatures of youth and maiden,
+"types of humanity" as Watts said, are crushed by his heavy limbs, while
+behind a fire burns continuously, perhaps also within his massive
+breast.
+
+_Portraits_.--In portraiture, as in other forms of art, Watts had
+distinct and peculiar views. He gradually came to the opinion, which he
+adopted as his first rule in portraiture, that it was his duty, not
+merely to copy the external features of the sitter, but to give what
+might be called an intellectual copy. He declared it to be possible and
+necessary for the sitter and painter to attain a unity of feeling and a
+sympathy, by which he (the painter) was inspired. Watts' earlier
+portraits, while being far from characterless, are not instances of the
+application of this principle. There is in them a slight tendency to
+eighteenth-century ideal portraiture, which so often took the sitter
+(and the observer too) back to times and attitudes, backgrounds and
+thunderstorms, that never were and never will be.
+
+Watts, however, was slightly influenced by the Pre-Raphaelite school. He
+might, had he wished, have been their portrait painter--and indeed, the
+picture of the comely Mrs. Hughes, a kind, motherly creature, with a
+background of distant fields, minutely painted, is quite on the lines of
+Pre-Raphaelite realism.
+
+[Illustration: PLATE VI.--LOVE TRIUMPHANT
+
+(At the Tate Gallery)
+
+     Time and Death having travelled together through the ages,
+     have run their course and are at length overthrown. Love alone
+     arises on immortal wings, triumphantly, with outspread arms to
+     the eternal skies.
+
+     Given to the nation in 1900.]
+
+Somewhat of the same character is the portrait of Mrs. Nassau Senior,
+who, with one knee on a sofa, is shown tending flowers, her rippling
+golden hair falling over her shoulders. A full-length portrait of Miss
+Mary Kirkpatrick Brunton, dated 1842, also belongs to the old style.
+Watts had a passion for human loveliness, and in his day some of the
+great beauties sat to him. The "Jersey Lily" (Mrs. Langtry) with her
+simple headdress and downcast eye, appeared at the Academy of 1879.
+"Miss Rachel Gurney" is a wonderful portrait of a flaming soul
+imprisoned in a graceful form and graceless dress. Miss Gurney is shown
+standing, turning slightly to the right with the head again turned over
+the right shoulder, while the whole effect of energy seems to be
+concentrated in the flashing eyes. Watts was able to interpret equally
+well personalities of a very different character, and perhaps the canvas
+representing Miss Edith Villiers is one of the most successful of his
+spiritual portraits. Miss Dorothy Dene, whose complexion Watts was one
+of the first to transfer to canvas, Miss Mary Anderson, and Miss Dorothy
+Maccallum, were all triumphantly depicted. He will be known, however, as
+the citizen portrait-painter of the nineteenth century, who preserved
+for us not merely the form, but the spirit of some of the greatest men
+of his day. Lord Tennyson sat three times. In 1859 the poet was shown in
+the prime of life, his hair and beard ruffled, his look determined. In
+1864 we had another canvas--"the moonlight portrait"; the face is
+that of Merlin, meditative, thoughtful. As you look at it the features
+stand out with great clearness, the distance of the laurels behind his
+head can be estimated almost precisely, while seen through them is the
+gleam of the moon upon the distant water. The 1890 portrait, in
+scholastic robes, with grizzled beard, and hair diminished, is Tennyson
+the mystic, and reminds us of his "Ancient Sage"--
+
+        "... for more than once when I
+    Sat all alone, revolving in myself
+    The word that is the symbol of myself,
+    The Mortal limit of the self was loosed
+    And passed into the Nameless, as a cloud
+    Melts into heaven."
+
+The portrait of John L. Motley, the American Minister to England in
+1869, and author of "The Rise of the Dutch Republic," is one of the most
+successful paintings of handsome men; Watts here depicts perfectly the
+"spiritual body" of strength, purity, and appeal; the eyes are deepest
+blue, and the hair the richest brown. In this case the artist has, as he
+was so prone, fallen into symbolism even in portraiture, for we can
+trace in the background a faint picture of an old-time fighting ship.
+
+Another classic portrait, so different to that by Whistler, is of Thomas
+Carlyle. The sage of Chelsea sits ruffled and untidy, with his hands
+resting on the head of a stick, and his features full of power. He seems
+protesting against the few hours' idleness, and anxious to get back to
+the strenuous life. The sitter was good enough to say that the portrait
+was of "a mad labourer"--not an unfair criticism of a very good
+portrait.
+
+_The Biblical Paintings_ are, as before said, in partial fulfilment of
+the frustrated scheme of "Cosmos." "Eve Repentant," in an attitude so
+typical of grief, is perhaps the most beautiful; it is one of a trilogy,
+the others being "She shall be called Woman," and "Eve Tempted." It is
+singular that in these three canvases the painter avoids the attempt to
+draw the face of the mother of the race. In the first the face is
+upturned, covered in shadow; in the second it is hid from view by the
+leaves of the forbidden tree, while in the third Eve turns her back and
+hides her weeping face with her arms. This habit of Watts to obscure the
+face is observed in "The Shuddering Angel," Judgment in "Time, Death,
+and Judgment," in "Love and Death," "Sic Transit," "Great Possessions,"
+and some others. Often indeed a picture speaks as much of what is not
+seen as of what is seen.
+
+Incidents from the Gospels are represented by "The Prodigal," where the
+outcast is seen crouching on the ground, his face fixed on vacuity,
+almost in the act of coming to himself. "For he had Great Possessions,"
+is, however, the greatest and simplest of all. There the young man who
+went away sorrowful with bowed head, scarcely knowing what he has lost,
+is used by Watts as one of his most powerful criticisms of modern life.
+Although the incident is a definite isolated one, yet the costume,
+figure, chain of office, and jewelled fingers, clutching and releasing,
+are of no time or land in particular.
+
+It is not a little remarkable that Watts, who had breathed so deeply the
+air of Italy, and had almost lived in company of Titian and Raphael,
+should never have attempted the figure of Christ or His apostles. This
+was, however, not without reason. His pictures were not only "for all
+time," but apart from time altogether. His only specific reference to
+Christianity is his beautiful canvas, "The Spirit of Christianity," in
+which he rebuked the Churches for their dissensions. A parental figure
+floats upon a cloud while four children nestle at her feet. The earth
+below is shrouded in darkness and gloom, despite the steeple tower
+raising its head above a distant village. The rebuke was immediately
+stimulated by the refusal of a certain church to employ Watts when the
+officials found he was not of their faith. In this picture Watts
+approached nearest to the Italian Madonnas both in form and colour.
+
+_The Mythical Paintings_ are, in the main, earlier than the Biblical
+series, but even here the same note of teaching is struck, and our human
+sympathies are drawn out towards the figure depicted. In one, "Echo"
+comes to find her lover transformed into a flower; in another, "Psyche,"
+through disobedience, has lost her love. She gazes regretfully at a
+feather fallen from Cupid's wing; it is a pink feather, such as might be
+taken from the plumage of the little Lord of Love who vainly opposes
+Death in his approach to the beloved one. In "Psyche," Watts has made
+the pale body expressive of abject loss; there is no physical effort,
+except in the well-expanded feet, and no other thought but lost love.
+
+The legend of "Diana and Endymion" was painted three times--"good,
+better, best." A shepherd loved the Moon, who in his sleep descends from
+heaven to embrace him. The canvas of 1903 must be regarded as the final
+success--the sleeping figure is more asleep, his vision more dreamlike
+and diaphanous. "Orpheus and Eurydice" (painted three times) is perhaps
+the greatest of his classical pictures. It is one of the few
+compositions that were considered by its author as "finished." Here
+again the lover through disobedience loses his love; the falling figure
+of Eurydice is one of the most beautiful and realistic of all the series
+of Watts' nudes, and the agony of loss, the energy of struggle, are
+magnificently drawn in the figure of Orpheus. Looking at the canvas, one
+recalls the lines of the old Platonic poet-philosopher Boethius:
+
+    "At length the shadowy king,
+    His sorrows pitying,
+    'He hath prevailed!' cried;
+    'We give him back his bride!
+    To him she shall belong,
+    As guerdon of his song.
+    One sole condition yet
+    Upon the boon is set;
+    Let him not turn his eyes
+    To view his hard-won prize,
+    Till they securely pass
+    The gates of Hell.' Alas!
+    What law can lovers move?
+    A higher law is love!
+    For Orpheus--woe is me!--
+    On his Eurydice--
+    Day's threshold all but won--
+    Looked, lost, and was undone!"
+
+In "The Minotaur," that terrible creature, half man, half bull, crushing
+with his hideous claw the body of a bird, stands ever waiting to consume
+by his cruel lust the convoy of beauteous forms coming unseen and
+unwilling over the sea to him. It is an old myth, but Watts intended it
+for a modern message. The picture was painted by him in the heat of
+indignation in three hours.
+
+A small but very important group of paintings, which I call "The
+Pessimistic Series," begins with "Life's Illusions," painted in 1849.
+"It is," says Watts, "an allegorical design typifying the march of human
+life." Fair visions of Beauty, the abstract embodiments of divers forms
+of Hope and Ambition, hover high in the air above the gulf which stands
+as the goal of all men's lives. At their feet lie the shattered symbols
+of human greatness and power, and upon the narrow space of earth that
+overhangs the deep abyss are figured the brighter forms of illusions
+that endure through every changing fashion of the world. A knight in
+armour pricks on his horse in quick pursuit of the rainbow-tinted bubble
+of glory; on his right are two lovers; on his left an aged student still
+pores over his work by the last rays of the dying sun; while in the
+shadow of the group may be seen the form of a little child chasing a
+butterfly.
+
+This picture has the merit, along with "Fata Morgana," of combining the
+teaching element with one of the finest representations of woman's form
+that came from Watts' brush. He was one of those who vigorously defended
+the painting of the nude. These are some of his words:
+
+     "One of the great missions of art--the greatest indeed--is to
+     serve the same grand and noble end as poetry by holding in
+     check that natural and ever-increasing tendency to hypocrisy
+     which is consequent upon and constantly nurtured by
+     civilisation. My aim is now, and will be to the end, not so
+     much to paint pictures which are delightful to the eye, but
+     pictures which will go to the intelligence and the
+     imagination, and kindle there what is good and noble, and
+     which will appeal to the heart. And in doing this I am forced
+     to paint the nude."
+
+"Fata Morgana" is a picture of Fortune or Opportunity pursued and lost
+by an ardent horseman. It was painted twice, first in the Italian style,
+and again in what must be called Watts' own style--much the finer
+effort. This picture shows us what, in the artist's view, man in this
+mortal life desires, pursues, and mostly loses. Fortune has a lock of
+hair on her forehead by which alone she may be captured, and as she
+glides mockingly along, she leads her pursuers across rock, stream,
+dale, desert, and meadow typical of life. The pursuit of the elusive is
+a favourite theme with Watts, and is set forth by the picture
+"Mischief." Here a fine young man is battling for his liberty against an
+airy spirit representing Folly or Mischief. Humanity bends his neck
+beneath the enchanter's yoke--a wreath of flowers thrown round his
+neck--and is led an unwilling captive; as he follows the roses turn to
+briars about his muscular limbs, and at every step the tangle becomes
+denser, while one by one the arrows drop from his hand. The thought of
+"Life's Illusions" and "Fata Morgana" is again set forth in "Sic Transit
+Gloria Mundi," where we see the body of a king whose crown, and all that
+represents to him the glory of the world, is left at death. It is not,
+however, in Watts' conception essential glory that passes away, but the
+_Glory of the World_. Upon the dark curtain that hangs behind the
+shrouded figure are words that represent his final wisdom, "What I
+spent, I had; what I saved, I lost; what I gave, I have."
+
+[Illustration: PLATE VII.--THE GOOD SAMARITAN
+
+(At the Manchester Art Gallery)
+
+     This is an early picture, painted in the year 1852 and
+     presented to the city of Manchester by the artist in honour of
+     the prison philanthropist, a native of that city.]
+
+These I call "Pessimistic paintings," because they represent the true
+discovery ever waiting to be made by man, that the sum total of all that
+can be gained in man's external life--wealth, fame, strength, and
+power--that these inevitably pass from him. To know this, to see it
+clearly, to accept it, is the happiness of the pessimist, who
+thenceforward fixes his hope and bends his energies to the realisation
+of other and higher goods. In this he becomes an optimist, for this is
+the pursuit, as Watts never ceases to teach, in which man can and does
+attain his goal. Thus our prophet-painter, having seen and known and
+felt all this, having tested it in the personal and intimate life,
+brings to a triumphant close his great series, where positive rather
+than negative teaching is given.
+
+_The Great Realities_.--We have seen in "Chaos" primordial matter; we
+have now from Watts' brush the origin of things on the metaphysical
+side. In "The All-pervading," there sits the Spirit of the Universe,
+holding in her lap the globe of the systems, the representation of the
+last conclusions of philosophy. This mysterious picture is very low in
+tone, conforming to Watts' rule to make the colouring suit the subject.
+Here there is nothing hard or defined; the spirit of the universe is
+merely suggested or hinted at, his great wings enclose all. The
+elliptical form of this composition is seen again in "Death Crowning
+Innocence" and "The Dweller in the Innermost," and the same expressive
+indefiniteness and lowness of the colour tones. In the latter effort we
+have the figure of Conscience, winged, dumb-faced and pensive, seated
+within a glow of light. On her forehead is the shining star, and in her
+lap the arrows which pierce through all disguises, and a trumpet that
+proclaims peace to the world. Here, therefore, is the greatest reality
+from the psychological side. We have also cosmical paintings
+representing "Evolution," "Progress," the "Slumber of the Ages," and
+"Destiny," all of them asking and answering; not indeed finally and
+dogmatically, but as Watts desired that his pictures should do,
+stimulating in the observer both the asking and the answering faculty.
+In "Faith" we have a companion to "Hope." Wearied and saddened by
+persecutions, she washes her blood-stained feet in a running stream, and
+recognising the influence of Love in all the beauty of Nature, she feels
+that the sword is not the best argument, and takes it off. The colouring
+of this picture is rich and forcible, the maroon robe of the figure
+being one of Watts' favourite attempts.
+
+A satisfying picture of a little child emerging from the latest wave on
+the shore of humanity's ocean, asks the question, _Whence and Whither_.
+I reserve for "Hope" the final word (see Plate III.). If, as I said, the
+optimism which is spiritual and ideal springs from the pessimism which
+is material and actual, so too does Hope grow from the bosom of
+Despair. This the picture shows. Crouching on the sphere of the world
+sits the blindfold figure of a woman, bending her ear to catch the music
+of one only string preserved on her lyre. When everything has failed,
+there is Hope; and Hope looks, in Watts' teaching, for that which cannot
+fail, but which is ever triumphant, namely, Love.
+
+_The Love Series_.--According to Watts, Love steers the boat of
+humanity, who is seen in one of his canvases tossed about and almost
+shipwrecked. Love does not do this easily, but he does it. Love, as a
+winged youth, also guides Life, a fragile maiden, up the rocky
+steep--Life, that would else fail and fall. Violets spring where Love
+has trod, and as they ascend to the mountain top the air becomes more
+golden. This picture, "Love and Life" (see Plate V.) was painted four
+times. "Love and Death," painted three times, represents the
+irresistible figure of Death tenderly, yet firmly, entering a door where
+we know lies the beloved one. This is an eternal theme, suggested, I
+believe, by a temporal incident--the death of a young member of the
+Prinsep family. Love vainly pushes back the imperious figure; the
+protecting flowers are trodden down and the dove mourns; and with it all
+we feel that though Love fears Death, yet Death respects Love. Just as
+"Love and Death" are companion pictures and tell complementary truths,
+so "Time, Death, and Judgment" is related to "Love Triumphant" (see
+Plate VI.). In the one we see Time, represented by a mighty youth half
+clad in a red cloak, striding along with great vigour. His companion,
+whom he holds by the hand, is Death, the sad mother with weary, downcast
+eye and outspread lap ready to receive her load; but with neither of
+them is the final word, for Judgment, poised in the clouds, wields his
+fiery sword of eternal law and holds the balance before his hidden face.
+In "Love Triumphant" Love takes the place of, and transcends Judgment.
+Time and Death having travelled together through the ages, are in the
+end overthrown, and Love alone rises on immortal wings. Thus the stoical
+painter reaches his greatest height--tells his best truth.
+
+_The Death Series_.--As may be expected, Death has no terrors for the
+fundamental Watts. Never once does Death look with hollow eyes and
+sunken cheeks, or grasp with bony fingers at the living. In "Death
+Crowning Innocence," as a mother she puts her halo on the infant
+Innocence, whom she claims. Death holds a Court to which all must
+go--priest, soldier, king, cripple, beautiful woman, and young child.
+The lion must die, the civilisation be overthrown, wealth, fame, and
+pride must be let go--so Watts shows in his "Court of Death"; all come
+to the end of the book marked _Finis_. Death is calm and majestic, with
+angel wings, and overhead are the figures of Silence and Mystery,
+guarding, but partially revealing what is beyond the veil--sunrise and
+the star of hope; while even in the lap of Death nestles a new-born
+babe--the soul passing into new realms through the gates of Death.
+
+Again, Death is _the Messenger_ who comes, not to terrify, but as an
+ambassador to call the soul away from this alien land, quietly touching
+the waiting soul with the finger-tips. In the beautiful "Paolo and
+Francesca" the lovers are seen as Dante told of them; wafted along by
+the infernal wind; of them he spoke:
+
+          "... Bard! Willingly
+    I would address these two together coming,
+    Which seem so light before the wind."
+
+Francesca's reply to Dante is of Love and Death:
+
+    "Love, that in gentle heart is quickly learnt,
+    Entangled him by that fair form...;
+    Love, that denial takes from none beloved,
+    Caught me with pleasing him so passing well,
+    That as thou seest, he yet deserts me not.
+    Love brought us to one death."
+
+Watts has admirably caught the sweetness and sorrow of this situation in
+his beautiful picture, which, again, is one of the very few he
+considered finally "finished." It is almost a monochrome of blues and
+greys.
+
+In "Time and Oblivion," one of the earliest of the symbolical paintings,
+Time is again the stalwart man of imperishable youth, while Oblivion,
+another form of Death, spreads her mantle of darkness over all, claiming
+all.
+
+_Landscapes_.--Although Watts will ever be remembered for his
+allegorical, biblical, and portrait painting, yet he was by no means
+deficient in landscape art. Indeed, he carried into that branch of work
+his peculiar personality. Not only do his landscapes depict beautiful
+scenery in a fitting manner, joining atmosphere, sunshine, and colour,
+but they convey in an extraordinary degree the mood of Nature and of
+Man. "The Sphinx by Night" has an air of mystery about it that
+immediately impresses the spectator, and tells him something that cannot
+be communicated by words. The Italian and the Asiatic canvases by Watts,
+"Florence," "Fiesole," "Correna," "Cos," and "Asia Minor," all induce
+the feeling of repose and happiness, and the message that Nature sends
+to her devotees comes sweetly and calmly in "The Rainbow," where we look
+over an extensive valley from high ground, while heavy clouds and the
+rainbow adorn the upper air. In "The Cumulus" we "see skyward great
+cloud masses rolling, silently swelling and mixing." They recall perhaps
+the memories of the child, to whom the mountains of the air are a
+perpetual wonder. When in Savoy in 1888, Watts painted the Alps, again
+with a cloudy sky and a rocky foreground. In this the quietude of the
+scene penetrates the beholder. English landscape, to which all true
+hearts return, was successfully depicted, both in form and spirit, by
+Watts' "Landscape with Hayricks" (like the Brighton Downs), a quiet
+view from the summit of a hillside, on which are seen some hayricks. But
+perhaps the highest of them all is that very peaceful idyll named "All
+the air a solemn stillness holds." It was a view from the garden of
+Little Holland House. The time is sunset; a man and two horses are
+wending their way home. There are farm buildings on the left, and a
+thick wood in the background. In this one we feel how thoroughly Watts
+uses all forms as expressions of his invisible moods. In purely
+imaginative landscape, however, Watts struck his highest note. His
+"Deluge" canvases are wonderful attempts; in "The Dove that returned in
+the Evening," the bird is the only creature seen flying across the
+dreary waste of waters, placid but for three long low waves. On the
+horizon the artist has dimly suggested the ark of Noah. "Mount Ararat"
+is especially worthy of mention among the landscapes.
+
+[Illustration: PLATE VIII.--PRAYER
+
+(At the Manchester Art Gallery)
+
+     This is one of the most simple and beautiful of Watts' early
+     works. The young woman is kneeling at the table, book in hand,
+     her mind absorbed in thoughts of reverence. Painted in 1860.]
+
+Before Watts entered upon his series of great imaginative paintings he
+had used realism for didactic purposes. In those days his work was less
+rugged than in later times, and had a delicateness and refinement which
+is seen to perfection in some of his earlier portraits. A few of these
+efforts may be mentioned. "Study" is the bust of a girl, with long red
+hair, looking upwards; it represents a beautiful combination of
+spirituality and human affection. "The Rain it raineth every day" is a
+picture of ennui and utter weariness, beautifully and sympathetically
+expressed. The colouring is very brave. In "Prayer" (see Plate VIII.)
+the simplicity of the treatment may lead any one to pass it by as
+something slight and conventional, but it is perhaps one of the greatest
+of this type where simplicity and spirituality are combined. In
+"Choosing" Watts approached very near to the summit of simplicity and
+charm. A golden-haired girl is choosing a camellia blossom; but where
+all are so beautiful it is difficult for her to decide. Great interest
+in this picture lies in the fact that it was painted in 1864, and was
+drawn from Watts' young bride Miss Ellen Terry. One is almost tempted to
+find in this picture the germ of allegory which grew to such heights in
+the artist's later efforts.
+
+_The Warrior Series_.--Watts, like Ruskin and many other of the
+nineteenth-century philosophic artists, idealised warfare. His warriors
+are not clad in khaki; they do not crouch behind muddy earthworks. They
+are of the days before the shrapnel shell and Maxim gun; they wear
+bright steel armour, wield the sword and lance, and by preference they
+ride on horseback. Indeed, they are of no time or country, unless of the
+house of Arthur and the land of Camelot.
+
+We are thus able to understand the characteristic of Watts' warrior
+pictures. The first is "Caractacus," the British chief; though no
+Christian, he is the earliest of Watts' heroes. The second is the
+beautiful "Sir Galahad," whose strength was as the strength of ten,
+because his heart was pure. We see a knight standing bare-headed at the
+side of his white horse, gazing with rapt eyes on the vision of the Holy
+Grail, which in the gloom and solitude of the forest has suddenly dawned
+on his sight. The features of young Arthur Prinsep, with his bushy hair,
+who later became a general in the British army, can be detected in this
+wonderful and simple picture. Its composition is like a stained-glass
+window. It is of all Watts' perhaps the nearest to mysticism, and at the
+same time it is an appeal to the young to be like Sir Galahad. The
+original is in Eton College Chapel.
+
+In 1863 followed "The Eve of Peace," in which we see a warrior of middle
+age, much like Watts himself at that time, who has lost the passion for
+warfare, sheathing his sword, glad to have it all over. The peacock
+feather that is strewn on the floor of "The Court of Death," and lies by
+the bier in "Sic Transit," is fastened to the warrior's casque.
+"Aspiration," also taken from young Prinsep (1866), is a picture of a
+young man in the dawn of life's battle, who, wishing to be a
+standard-bearer, looks out across the plain. He sees into the great
+possibilities of human life, and the ardent spirit of life is sobered by
+the burden of responsibilities. "Watchman, what of the Night?" is
+another wonderful composition, representing a figure with long hair,
+clad in armour, looking out into the darkness of the night, with his
+hand grasping the hilt of the sword. The colour, low in tone, and the
+whole composition, indicate doubt and yet faith. Ellen Terry was the
+model for this painting.
+
+"The Condottiere" represents the fighting spirit of the Middle Ages.
+This soldier is, like the others, clad in armour, and is not likely to
+have a vision of the Holy Grail. His features represent the
+determination and vigour which were required of him in those ferocious
+days. "The Red Cross Knight accompanying Una" is a charming picture,
+representing an incident in Spenser's "Faery Queen," but the palm must
+be given to "The Happy Warrior," who is depicted at the moment of death,
+his head falling back, and his helmet unloosed, catching a glimpse of
+some angelic face, who speaks to him in terms of comfort and of peace.
+This picture, of all the others, shows how Watts has insisted on
+carrying to the very highest point of idealism the terrible activities
+of warfare:
+
+    "This, the Happy Warrior, this is he,
+    That every man in arms should wish to be."
+
+He sent a copy, the original of which is in the Munich Gallery, to Lord
+Dufferin, whose son was killed in the South African War, and he declares
+that many bereaved mothers have thanked him for the inspiration and
+comfort it has brought to them.
+
+Watts' pictures are widely distributed; a roomful may be seen at the
+Tate Gallery, Millbank, S.W. Nearly all the portraits of public men are
+at the National Portrait Gallery, Trafalgar Square, London. There is a
+portrait of Thomas Carlyle in the South Kensington Museum, three or four
+pictures at the Manchester Corporation Gallery, and one at the Leicester
+Art Gallery. There are also several of Watts' best pictures in a gallery
+attached to his country house at Compton in Surrey; while his fresco
+"Justice" can be seen at the Benchers' Hall, Lincoln's Inn.
+
+Watts was conscious of the benefit he had received from the great men
+who had preceded him, and in his best moments so essentially humble,
+that in his last will and testament, and the letters of gift, he rises
+to the great height of artistic patriotism which always appeared to him
+in the light of a supreme duty.
+
+The former document has the following phrases: "I bequeath all my
+studies and works to any provincial gallery or galleries in Great
+Britain or Ireland, which my executors shall in their discretion select,
+and to be distributed between such galleries." This Will is dated
+November 1, 1899, and relates to such works as had not already been
+disposed of. His great gift to the nation was made in 1897, accompanied
+by a characteristic letter in which he says:
+
+     "You can have the pictures any time after next Sunday. I have
+     never regarded them as mine, but never expected they would be
+     placed anywhere until after my death, and only see now my
+     presumption and their defects and shrink from the consequences
+     of my temerity! I should certainly like to have them placed
+     together, but of course can make no conditions. One or two are
+     away, and I am a little uncertain about the sending of some
+     others; if you could spare a moment I should like to consult
+     you."
+
+A few weeks later, following a letter from the Keeper of the National
+Gallery, he writes as follows:
+
+     "I beg to thank you and through you the Trustees and Director
+     of the National Gallery for the flattering intention of
+     placing the tablet you speak of, but while returning grateful
+     thanks for the intention of doing me this honour I should like
+     it to be felt that I have in no way desired anything but the
+     recognition that my object in work, and the offering of it,
+     has only been the hope of spending my time and exercising my
+     experience in a worthy manner, leaving to time further
+     judgment. Most certainly I desire that my pictures should be
+     seen to advantage, and have a good effect as an encouragement
+     to artists of stronger fibre and greater vitality, to pursue
+     if only occasionally a similar direction and object."
+
+At the end of a long life by no means devoid of mistakes and
+disappointments, it would seem as though Watts attained to his desires.
+The man has passed away, while the witness of his aspirations remains.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK WATTS (1817-1904)***
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