commanding, imperative, but he does not show how, nor stay to devise
ways and means. He even perceives, as he thinks, that though the
commands of his pictures, "Faith," "Conscience," and "Love Triumphant,"
be given, yet they cannot be obeyed fully because of "Evolution" and
"Destiny," or as he calls it "Movement."

To his intimate friends Watts, who was so introspective, often
complained of "the duality of my nature." In the midst of affairs,
financial or worldly, on questions of criticism, personal conduct and
the like, the great artist was variable and uncertain. Though humble and
self-deprecatory to an extreme degree, he made mistakes from which he
could escape only with great difficulty; and he suffered much from
depression and melancholy. This man, however, never appears in the
pictures; when once in his studio, alone facing his canvas, Watts is
final, absolute, an undisturbed and undistracted unity, conscious of
that overwhelming "rightness" known to a Hebrew prophet. Whatever Time
or Death may have in store for him or any man, there riding swiftly
above them is Judgment the Absolute One; whatever theories may be spun
from the perplexed mind of the magazine writer about Expansion and
Necessity, there sits the terrible "Mammon" pilloried for all time.
Indeed, he said his pictures were "for all time"; they were from the
mind and hand of the seer, who, rising from his personality, transcended
it; and as the personality of dual nature gradually fades away into the
forgotten past, the Messenger emerges ever more and more clearly,
leaving his graphic testimonies spread out upon a hundred canvases. It
might be said as a final estimate that the value and sincerity of Watts'
work becomes intensified a hundred-fold when we remember that its
grandeur and dignity, its unity and its calm, was the work of a man who
seldom, if ever, attained internal peace. Like some who speak wiser than
they know, so Watts gave himself as an instrument to inspirations of