ng 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 picture of the god to whom many bow the
knee--"dedicated to his worshippers." His leaden face shows a
consciousness of power, but not happiness arising from power; his dull
eyes see nothing, though his mind's eye sees one thing clearly--the
money bags on his lap. The two frail creatures of youth and maiden,
"types of humanity" as Watts said, are crushed by his heavy limbs, while
behind a fire burns continuously, perhaps also within his massive
breast.

_Portraits_.--In portraiture, as in other forms of art, Watts had
distinct and peculiar views. He gradually came to the opinion, which he
adopted as his first rule in portraiture, that it was his duty, not
merely to copy the external features of the sitter, but to give what
might be called an