iew 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 Holla