isturbed 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. My