ight are two lovers; on his left an aged student still
pores over his work by the last rays of the dying sun; while in the
shadow of the group may be seen the form of a little child chasing a
butterfly.

This picture has the merit, along with "Fata Morgana," of combining the
teaching element with one of the finest representations of woman's form
that came from Watts' brush. He was one of those who vigorously defended
the painting of the nude. These are some of his words:

"One of the great missions of art--the greatest indeed--is to
serve the same grand and noble end as poetry by holding in
check that natural and ever-increasing tendency to hypocrisy
which is consequent upon and constantly nurtured by
civilisation. My aim is now, and will be to the end, not so
much to paint pictures which are delightful to the eye, but
pictures which will go to the intelligence and the
imagination, and kindle there what is good and noble, and
which will appeal to the heart. And in doing this I am forced
to paint the nude."

"Fata Morgana" is a picture of Fortune or Opportunity pursued and lost
by an ardent horseman. It was painted twice, first in the Italian style,
and again in what must be called Watts' own style--much the finer
effort. This picture shows us what, in the artist's view, man in this
mortal life desires, pursues, and mostly loses. Fortune has a lock of
hair on her forehead by which alone she may be captured, and as she
glides mockingly along, she leads her pursuers across rock, stream,
dale, desert, and meadow typical of life. The pursuit of the elusive is
a favourite theme with Watts, and is set forth by the picture
"Mischief." Here a fine young man is battling for his liberty against an
airy spirit representing Folly or Mischief. Humanity bends his neck
beneath the enchanter's yoke--a wreath of flowers thrown round his
neck--and is led an unwilling captive; as he follows the roses turn to
briars about his muscular limbs, and at every step the tangle becomes
denser, while one by one the arrows drop from his hand. The thought of
"Life's Illusions" and "Fata Morgana" is again set forth in "Sic Transit
Gloria Mundi," where we see the body of a king whose crown, and all that
represents to him the glory of the world, is left at death. It is not,
however, in Watts' conception essential glory that passes away, but the
_Glory of the World_. Upon the dark curtain that hangs beh