thical 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 "Shudderi