same time. For the purpose of our survey, however, we divide them as
follows:

1. Monumental or Historical Paintings and Frescoes.
2. Humanitarian or Social Paintings.
3. Portraits, private and public.
4. Biblical Paintings.
5. Mythical Paintings.
6. "Pessimistic" Paintings.
7. The Great Realities.
8. The Love Series.
9. The Death Series.
10. Landscapes.
11. Unclassified Paintings.
12. Paintings of Warriors.

"Caractacus" was the first of the monumental paintings; by them Watts
appears as a citizen and a patriot, whose insular enthusiasm extends
backward to the time when the British chief Caractacus fought and was
subdued by the Romans. He enters also into the spirit of the resistance
offered to the Danes by King Alfred. George and the Dragon are included
by him in the historical though mythical events of our race. Undoubtedly
the most remarkable of Watts' monumental paintings is the fresco
entitled "Justice; a Hemicycle of Lawgivers," painted for the Benchers'
Hall in Lincoln's Inn. It is 45 x 40 feet. Here Watts, taking the
conventional and theoretical attitude, identifies law-making with
justice, and in his fresco we see thirty-three figures, representing
Moses, Zoroaster, Pythagoras, Confucius, Lycurgus and his fellow-Greeks,
Numa Pompilius and other Romans. Here figures also Justinian, the maker
of the great Code; Mahomet, King Alfred, and even Attila the Hun. The