_The Great Realities_.--We have seen in "Chaos" primordial matter; we
have now from Watts' brush the origin of things on the metaphysical
side. In "The All-pervading," there sits the Spirit of the Universe,
holding in her lap the globe of the systems, the representation of the
last conclusions of philosophy. This mysterious picture is very low in
tone, conforming to Watts' rule to make the colouring suit the subject.
Here there is nothing hard or defined; the spirit of the universe is
merely suggested or hinted at, his great wings enclose all. The
elliptical form of this composition is seen again in "Death Crowning
Innocence" and "The Dweller in the Innermost," and the same expressive
indefiniteness and lowness of the colour tones. In the latter effort we
have the figure of Conscience, winged, dumb-faced and pensive, seated
within a glow of light. On her forehead is the shining star, and in her
lap the arrows which pierce through all disguises, and a trumpet that
proclaims peace to the world. Here, therefore, is the greatest reality
from the psychological side. We have also cosmical paintings
representing "Evolution," "Progress," the "Slumber of the Ages," and
"Destiny," all of them asking and answering; not indeed finally and
dogmatically, but as Watts desired that his pictures should do,
stimulating in the observer both the asking and the answering faculty.
In "Faith" we have a companion to "Hope." Wearied and saddened by
persecutions, she washes her blood-stained feet in a running stream, and
recognising the influence of Love in all the beauty of Nature, she feels
that the sword is not the best argument, and takes it off. The colouring
of this picture is rich and forcible, the maroon robe of the figure
being one of Watts' favourite attempts.

A satisfying picture of a little child emerging from the latest wave on
the shore of humanity's ocean, asks the question, _Whence and Whither_.
I reserve for "Hope" the final word (see Plate III.). If, as I said, the