of Watts's distinguished contemporaries sat to him for portraits. Among politicians are the duke of Devon shire (1883), Lords Salisbury (1884), Sherbrooke (1882), Camp bell (1882), Cowper (1877), Ripon (1896), Dufferin (1897) and Shaftesbury (1882), Mr. Gerald Balfour (1899), and Mr. John Burns (1897) ; poets-Tennyson, Swinburne (1884), Browning (1875), Matthew Arnold (1881), Rossetti (1865, and subsequent replica) and William Morris (1870) ; artists-himself (1864, 188o, and eleven others), Lord Leighton (1871 and 1881), Calderon (1872), Prinsep (1872), Burne-Jones (187o), Millais (1871), Walter Crane (1891), and Alfred Gilbert (1896) ; literature is represented by John Stuart Mill (exhibited 1874), Carlyle (1869), George Meredith (1893), Max Muller (1895) and Mr. Lecky (1878) ; music, by Sir Charles Halle; while among others who have won farne in diverse paths are Lords Napier (1886) and Roberts (1899), General Baden-Powell (1902), Garibaldi, Sir Richard Burton (1882), Cardinal Manning (1882), Dr. Martineau (1874), Sir Andrew Clark (1894), George Peabody, Mr. Passmore Edwards, Claude Montefiore (1894). Even more significant from an artistic point of view is the great collection of symbolical pic tures in the Tate Gallery.
never wearies of emphasizing the reality of the power of Love, the fallacy underlying the fear of Death. To the early masters Death was a bare and ghastly skele ton, above all things to be shunned; to Watts it is a bringer of rest and peace, not to be rashly sought but to be welcomed when the inevitable hours shall strike. Sic transit (1892) shows a corpse, with the famous inscription, "What I spent I had; what I saved I lost; what I gave I have." So with the "Court of Death" in the Tate Gallery. Also we have "Love and Life," exhibited in 1885, a replica of an earlier picture in the Metropolitan Museum, New York, and of another version in the Luxembourg, Paris. "Love and Death," one version of which was exhibited in 1877 and others in 1896, and later; and "Love Triumphant" (1898).
admittedly on the Grecian monuments, there is a sculpturesque rather than pictorial quality in most of the paintings by Watts. To him, sculpture was thus natural. He visited the studio of Behnes, but was not his pupil. Among his works are a bust of "Clytie" (1868), monuments to the marquis of Lothian, Bishop Lonsdale and Lord Tennyson, a large bronze equestrian statue of "Hugo Lupus" at Eaton Hall (1884), and a colossal one of a man on horseback, emblematical of "Physical Energy," originally intended for a place on the Em bankment, but destined to stand among the Matoppo Hills as an enduring evidence of the artist's admiration for Cecil Rhodes ; a replica is now placed in Kensington Gardens. Much of his time and attention was given to the promotion of the Home Arts and Industries Association ; he assisted Mrs. Watts with both money and advice in the founding of an art pottery at Compton, and in the building at the same place of a highly decorated mor tuary chapel, carried out almost entirely by local labour; and it was entirely due to his initiative that the erection in Post men's Park, Aldersgate Street, London, of memorial tablets to the unsung heroes of everyday life was begun.
H. Spielmann, "The Works of Mr. G. F. Watts, R.A., with a Catalogue of his Pictures," Pall Mall Gazette "Extra" (i886) ; Julia Cartwright (Mrs. Ady), "G. F. Watts, Royal Academi cian, His Life and Work," Art Journal, Extra Number (1896) ; W. E. T. Britten, "The Work of George Frederick Watts, R.A., LL.D.," Architectural Review (i888 and 1889) ; Cosmo Monkhouse, British Contemporary Artists (1889) ; Charles T. Bateman, G. F. Watts, R.A., Bell's Miniature Series of Painters (19oi) ; "Mr. G. F. Watts, R.A., Character Sketch," The Review of Reviews (June 1902) ; see also works by Pantini (1904) ; G. K. Chesterton (1905) ; Mrs. Barrington (1905) ; and a Life in 3 vols., by his widow (1912).