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 African War, and he declares that many bereaved mothers have thanked him for the inspiration and comfort it has brought to them.

Watts’ pictures are widely distributed; a roomful may be seen at the Tate Gallery, Millbank, S.W.  Nearly all the portraits of public men are at the National Portrait Gallery, Trafalgar Square, London.  There is a portrait of Thomas Carlyle in the South Kensington Museum, three or four pictures at the Manchester Corporation Gallery, and one at the Leicester Art Gallery.  There are also several of Watts’ best pictures in a gallery attached to his country house at Compton in Surrey; while his fresco “Justice” can be seen at the Benchers’ Hall, Lincoln’s Inn.

Watts was conscious of the benefit he had received from the great men who had preceded him, and in his best moments so essentially humble, that in his last will and testament, and the letters of gift, he rises to the great height of artistic patriotism which always appeared to him in the light of a supreme duty.