e vision of the Holy
Grail, which in the gloom and solitude of the forest has suddenly dawned
on his sight. The features of young Arthur Prinsep, with his bushy hair,
who later became a general in the British army, can be detected in this
wonderful and simple picture. Its composition is like a stained-glass
window. It is of all Watts' perhaps the nearest to mysticism, and at the
same time it is an appeal to the young to be like Sir Galahad. The
original is in Eton College Chapel.

In 1863 followed "The Eve of Peace," in which we see a warrior of middle
age, much like Watts himself at that time, who has lost the passion for
warfare, sheathing his sword, glad to have it all over. The peacock
feather that is strewn on the floor of "The Court of Death," and lies by
the bier in "Sic Transit," is fastened to the warrior's casque.
"Aspiration," also taken from young Prinsep (1866), is a picture of a
young man in the dawn of life's battle, who, wishing to be a
standard-bearer, looks out across the plain. He sees into the great
possibilities of human life, and the ardent spirit of life is sobered by
the burden of responsibilities. "Watchman, what of the Night?" is
another wonderful composition, representing a figure with long hair,
clad in armour, looking out into the darkness of the night, with his
hand grasping the hilt of the sword. The colour, low in tone, and the
whole composition, indicate doubt and yet faith. Ellen Terry was the
model for this painting.

"The Condottiere" represents the fighting spirit of the Middle Ages.
This soldier is, like the others, clad in armour, and is not likely to
have a vision of the Holy Grail. His features represent the
determination and vigour which were required of him in those ferocious
days. "The Red Cross Knight accompanying Una" is a charming picture,
representing an incident in Spenser's "Faery Queen," but the palm must
be given to "The Happy Warrior," who is depicted at the moment of death,
his head falling back, and his helmet unloosed, catching a glimpse of
some angelic face, who speaks to him in terms of comfort and of peace.
This picture, of all the others, shows how Watts has insisted on
carrying to the very highest point of idealism the terrible activities
of warfare:

"This, the Happy Warrior, this is he,
That every man in arms should wish to be."

He sent a copy, the original of which is in the Munich Gallery, to Lord
Dufferin, whose son was killed in the South A