1908.)

In 1867, at the age of fifty, without his application or knowledge,
Watts was made an Associate, and in the following year a full Member, of
the Royal Academy. Younger men had preceded him in this honour, but
doubtless Watts' modesty and independence secured for him a certain
amount of official neglect. The old studio in Melbury Road, Kensington,
was pulled down in 1868, and a new house was built suited to the painter
who had chosen for himself a hermit life. The house was built in such a
way as would avoid the possibility of entertaining guests, and was
entirely dedicated to work. Watts continued his series of official
portraits, and many of the most beautiful mythical paintings followed
this change. Five years later, Watts was found at Freshwater in the Isle
of Wight, and in 1876 he secured what he had so long needed, the
sympathetic help and co-operation in his personal and artistic aims, in
Mr. and Mrs. Russell Barrington, his neighbours.

In 1877 Watts decided, in conformity with his views on patriotic art, to
give his pictures to the nation, and there followed shortly after, in
1881 and 1882, exhibitions of his works in Whitechapel and the Grosvenor
Gallery. A leaflet entitled "What should a picture say?" issued with the
approval of Watts, in connection with the Whitechapel Exhibition, has a
characteristic answer to the question put to him.

"Roughly speaking, a picture must be regarded in the same
light as written words. It must speak to the beholder and tell
him something.... If a picture is a representation only, then
regard it from that point of view only. If it treats of a
historical event, consider whether it fairly tells its tale.
Then there is another class of picture, that whose purpose is