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 “Shuddering Angel,” who is covering his face with his hands at the sight of the mangled plumage scattered on the altar of fashion.  In the large canvases, “A Patient Life of Unrequited Toil,” and “Midday Rest,” we have paintings of horses, both of them designed to teach us consideration for the “friend of man.”  “The Sempstress” sings us Tom Hood’s “Song of the Shirt.”

“The Good Samaritan” (see Plate VII.) properly belongs to this series.  It was presented by the artist to the citizens of Manchester, as an expression of his admiration of Thomas Wright, the prison philanthropist, whose work was at that time (1852) creating a sensation in the north of England.  If we compare this painting with other Biblical subjects executed at a later date, we see how much Watts’ work has gained since then.  The almost smooth texture and the dark shadows of the Manchester picture have given way to ruggedness and transparency.  Still, “The Good Samaritan” is simple and excellent in purpose and composition.

A little known painting entitled “Cruel Vengeance,” seems to be a forecast of “Mammon”; a creature with human form and vulture’s head presses under his hand a figure like the maiden whose head rests on Mammon’s knee.  In “Greed and Labour” the seer’s eye pierces through the relations between the worker and his master; Labour is a fine strong figure loaded with the implements of his toil, with no feeling of subjection in his manly face; on the other hand, the miser creeping behind him, clutching the money bags, represents that Greed who, as Mammon, is seen sitting on his throne of death.  “Mammon” is, however, the greatest of the three, containing in itself the ideas and forms of the other two.  It is a terrible