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 h