it 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 observ