which he was not able, through adverse circumstances, to make full use.
Thus was the Man divided from the Messenger.

[Illustration: PLATE V.--LOVE AND LIFE

(At the Tate Gallery)

Love, strong in his immortal youth, leads Life, a slight
female figure, along the steep uphill path; with his broad
wings he shelters her, that the winds of heaven may not visit
her too roughly. Violets spring where Love has trod, and as
they ascend to the mountain top the air becomes more and more
golden. The implication is that, without the aid of Divine
Love, fragile Human Life could not have power to ascend the
steep path upward. First exhibited at the Grosvenor Gallery in
1885. Companion picture to "Love and Death," and "Love
Triumphant."]




III

A REVIEW OF WATTS' WORK


Failing the "Progress of the Cosmos," we have from the mind and brush of
Watts a great number of paintings, which may be grouped according to
their character. Such divisions must not be regarded as rigid or
official, for often enough a picture may belong to several groups at the