G. F. Watts; reminiscences

Front matter

REMINISCENCES OF

‘ To this life things of sense Make their pretence ;

In th’ other angels have a right by birth ;

Preface

In attempting to record these reminiscences of our great artist at so early a date after his death it is obviously impossible even to allude to many things connected with his memory. Characteristic and interesting though they be, this is also no moment to publish the numerous letters he wrote and which I have preserved. They were written after Watts’ powers, artistic and intellectual, had reached their maturity, and forming as they do an analysis of his character and nature, a record of his life of thought and work as also of his general views on art, they might at some future date prove of value in helping to elucidate the nature, not only of the artist, but of the man. It was about the time when this correspondence began, and during the subsequent twelve years of his life, that Watts painted the works into which he consciously put most of himself — his aims and his ideas — and these will probably be those pictures by which his fame will be sustained and most lastingly secured, though there are some canvasses, which evince, I think, more distinctly his instinctive individual genius.

Put into the form more or less of letters, this correspondence might be considered in the light of a series of short essays. Watts found ordinary letter-writing most irksome, but when he discovered that he possessed a facility for jotting down his thoughts and ideas with his pen

PREFACE viii

he appears to have taken great interest in so doing. At one time he was in the habit of scribbling down a thought that might strike him at the moment on any scrap of paper that might be at hand, on every kind of subject. As these generally referred to conversations he had had with my husband and myself, he would often give these jottings to me by way of continuing the argument. I find I have fortunately preserved many of these jottings with his letters. On every scrap of paper is an idea, valuable as a criticism on art, morals, or manners. The first letter I possess is dated April 7, 1876 — the last, April 2, 1904. Besides the more important letters, there are many notes which are only personally interesting as recalling little daily events that were characteristic of the life Watts was leading at the time they were written. In re-reading these letters the thought came — will there ever be an exhaustive Life written of the man who penned them ? There is ever the same difficulty as regards biographies. When interest is keenest, it is then precisely the moment when it is hardly wise or seemly to challenge criticism by endeavouring to write a complete estimate of a notable individuality. When, in the future, certain difficulties no longer exist, even greater arise. Those who could have given a true and subtle atmosphere and vividness to the picture, editing the letters with a full knowledge of the circumstances and feelings which incited the writing of them — these will also have passed behind the veil. And not only does time rob the world of the right biographer, but also of the interested reader. No time seems exactly the best moment when a full biography should be written. Unless the history of great public events or discussions, having a literary or political value and interest, are connected with the personal life of an individual, there remains no vivid desire to know the vraie

PREFACE

IX vdrit^ which a true record could give, of the character and motives of the dead, when the generation who was influenced by the power and charm of the personality has also passed away. It is only natural this should be so. Besides the fact that the stream of life quickly passes on to other pastures in which the vitality of the present absorbs the energies of those who stamp their own age with most vitality, a completely truthful portrait, we all know, cannot be written solely through facts being transmitted second-hand. The side lights, the unacknowledged, sometimes even unconscious influences, the delicate shading and correct inferences which all help to make the picture a true, just, and merciful record of the life of a notable human being — a record which adds to the world’s treasures by adding to men’s knowledge of men — can only be supplied by one who was in the life when it was being lived. Facts that every man in the street thinks he knows, falsify, as often as they elucidate, the estimate of a character. “ The lie which is half a truth is ever the worst of lies,” and facts, from which perverted deductions are invented, can lead to conceptions which are completely false.

Many think that the canvasses of great painters are their best biographies. In the case of Watts, though his art is extraordinarily consistent as regards certain qualities and intentions, his pictures are extraordinarily unequal as regards others. Moreover, as one who, besides his universally acknowledged greatness as an artist is viewed by one section of the public as a thinker and a moralist, Watts’ position in the interest of his generation differs distinctly from that of most painters. That many of the qualities in his Celtic nature and genius could inspire a very special affection and interest, many friends can testify. An attempt to write an impartial criticism of one who was possessed of such an

X

PREFACE unusual power of sympathy and of so much personal charm would at any time be difficult ; at this moment it would seem impossible. My object in writing the following pages is to record accurately those things which have reference to my husband’s and my own personal friendship with Watts during many years of his life — to give to the future a page of contemporary history, which, though by no means exhaustive, is correct.

E. I. B.

Chapter I First Impressions

PAGE

In Rossetti’s studio — “Lady Lilith” — “The Beloved Ruskin and Arthur Hughes as masters — First impression of Watts — Reference to his portraits of Mrs. Nassau Senior ; Miss Senior (Mrs. Simpson) ; Miss Eden (Mrs. Cox); Miss Russell; “Choosing” — Letter of introduction from Mrs. Nassau Senior to Watts — Visit with Mr. Barrington to the old Little Holland House in 1868 — Visit to Freshwater, Easter 1873 —

First lesson from Watts — Visits to the new Little Holland House — Quotation from Watts’ letter respecting help in his work — Mrs. Nassau Senior’s death, and that of Walter Bagehot on March 24, 1877 . . 1-7

Chapter II Aims

New Little Holland House — Watts’ aim to raise the art of England — Watts as a portrait painter — His sympathy with the pre-Raphaelite school — Indifference respecting the making of money — Strong views as to patriotism— Feelings as to the absolute necessity of isolating himself from the outside world — Equestrian statue of the Duke of Westminster’s ancestor Hugh Lupus — Watts’ depreciation of his own powers — Consciousness of aiming towards the highest in Art — Refers to the heroic sentiment in Art — Technical difficulties — Value of portrait painting — Watts’ combination of knowledge and instinctive sense for form and colour — Criticism of the methods of teaching in art schools — His early strict religious training — Recognition of the value of the “golden thread” which inspired his highest aims

xi

8-21

CONTENTS xii

Chapter III Page

Watts’ constant depreciation of self — Celtic in nature but a pupil of Pheidias — Ruskin’s opinion regarding his studying Greek Art — Letters from Ruskin to Watts — Advice to study botany— Watts’ patron, Mr. Ionides —First commission — Early pictures — Portraits of the Ionides’ family,

Miss M. K. Brunton, “Aurora,” “The Wounded Heron” — Visit to Lord Holland in Italy — Journey with Sir Charles Newton to Greece — Visit to Embassy at Constantinople — Italy stimulating to Watts’ genius — Influence of Orgagna and Titian — Return to England — Pictures painted between 1848 and 1876 — Wall paintings in Charles Street and in Little Holland House — “Life’s Illusions,” “Time and Oblivion,”

“The Good Samaritan,” “ Found Drowned,” “ Under a Dry Archway,”

“The Song of the Shirt,” “Irish Peasants during the Famine” — Lists of pictures — Influence of sitters on his own creative power — “Watchman, what of the Night”? “Ophelia,” “ Clytie,” “Joachim,” “Hope,” “Walter Crane” — No direct personal influence in “Sic Transit,” “The Minotaur,” “Jonah” — Slav and Celt — Similarity in their languages traced by Nietzsche, also in music of Tchaikovsky and art of Watts — Differences traced — Parthenon Frieze, Michael Angelo’s “Slave” and Watts’ “Clytie”— Typical example of melancholy Celt in Brittany Arthurian legends — Pierre Loti’s “Pecheurs d’Islande” — The indefinite notes reflecting the contrasts of life sounded in Watts’ art — Reference to design on cover 22-47

Chapter IV

In Behne’s studio — Knight’s adverse criticism of Elgin Marbles — Haydon’s discovery of their true worth — Watts’ keen interest in Pheidian fragments— Sculptor’s studio in new Little Holland House — First sketches for “Vital Energy” — Description of principle underlying the value of a “good” line discovered by Watts — Method of working adopted for “Hugh Lupus,” “Vital Energy,” and “Aurora” — Ingenious invention for making changes in design — “Aurora” — “Daphne” — Mr. Stanley’s monument at Holyhead 48-56

CONTENTS

Chapter V

Watts’ friendship inspiring — His distinct personality — Mrs. Nassau Senior — Lady Catherine Barrington — Monotony of Watts’ outward life — Notes referred to, recalling neighbourly intercourse — Building of a studio in garden of Melbury House — Casts of Parthenon Frieze and of figures from the Nike Athena Temple. — Watts’ lessons on these — Description of Watts’ manner of painting — Evening visits to studio — Books and conversation — Mr. Augustine Birrell’s lecture at Leighton House — Mrs. W. R. Greg’s letter in Sir M. Grant-Duff’s “Notes from a Diary ’’—Madame Mohl’s salon — Watts’ admiration for paintings by Etty — Interest in Haydon — Intolerance of “bores”- — Conversation which led Watts to offer works to the nation- — Tate Gallery — Article written 1878, “Is a Great School of Art possible in the Present Day?” — Inspires Watts’ thoughts on various subjects — Papers sent in to author published under the title “ The Present Conditions of Art,” Nineteenth Century , February 1880 — Watts disclaimed possessing originality — Watts adopts Titian’s method of painting as described by Boschini — Models for “ Uldra,” “The rain it raineth every day” — Portraits of Dorothy Dene — Watts’ wish to build Gallery- — Canon and Mrs. Barnett’s enterprise for yearly picture Exhibitions in Whitechapel — Watts’ and Leighton’s help — Visits from poor of Whitechapel to Watts’ Gallery — Lists of pictures — Love of music — Interest in photography— His adopted daughter “Blanche” and her cousins’ visit to Little Holland House — Watts’ paintings from old Little Holland House — Original designs and enlarged copies of Flaxman’s designs for Dante’s “ Inferno" and “ Paradiso” — Finishes Mr. Barrington’s portrait — Group of heads painted in miniature on ivory— Grosvenor Gallery, 1882 — American Exhibition, 1885-6 — Watts’ views as to money— Negotiations for the purchase of pictures from the Grosvenor Gallery Exhibition — Leighton’s suggestion re Chantrey Bequest — Watts’ interest in published criticisms — Letter respecting criticism in Times on Grosvenor Gallery Exhibition — Higher and wider appreciation of Watts’ art— Exhibition in New York —Mr. Frank Millett’s help — Preface to Catalogue— Unparalleled success of pictures — Pictures remain till October 1886- — Preface to Catalogue reprinted. “ The Duality of my Nature ” — Misunderstanding with critics — Income-tax demanded on his work — Refusal of baronetcy — Two disturbing episodes in autumn and winter of 1885 — Difficulties in attaining consistency in theory and action — Religioji- — Effects of early

LIST OF ILLUSTRATIONS i. Design for Cover.

From Wall Painting by G. F. WATTS — Figure representing Humanity gazing upward from Earth's Orbit to the

Universe beyond {in Leighton House).

2. Portrait of G. F. Watts l7 8 9ro?itispiece

Reproduced in Colour from Painting by Cecil Schott, 1887.

3. Portrait of Dante Gabriel Rossetti ... To face page 2

From Pencil Copy of Miniature by Cecil Schott.

4. Mrs. Nassau Senior „ „ 4

From Pencil Study by G. F. Watts for Large Picture.

5. Mrs. Nassau Senior „ „ 6

From Full-length Picttire in Oils, Life size, by G. F. Watts.

6. Mrs. Hughes, Mother of Mrs. Nassau Senior and

of Mr. Thomas Hughes, Author of “ Tom Brown’s

School Days.” Photogravure „ 8

7. Mrs. Hugh Smith (Miss Constance Adeane, Niece of

the Hon. W. Stanley) „ „ 16

From Portrait in Oils by G. F. Watts.

8. Group of Heads „ „ 20

Reproduced in Colour from Miniature Painting on Ivory by G. F. Watts.

9. Miss Mary Kirkpatrick Brunton. Photogravure .

From small Full-length Portrait in Oils by G. F. Watts, dated 1842.

xvii

„ 24 b xviii LIST OF ILLUSTRATIONS

10. Portrait of General Sir Frederick Adam . . To face page 30

From Drawing in Chalks by G. F. Watts, 1850.

(Sir F. Adam, born in 1784, entered the army at the age of eleven ; at fourteen entered upon active service against the French in Holland. As youngest General in' the British army commanded a Brigade at Waterloo , which took the most important part in attack on the French Imperial Guards, whose repulse turned the fate of the battle.)

Taken in his Studio, 1854, given to Author in 1883.

12. Wall of Studio in Melbury House Garden . . „ „ 32

Showing Enlargements in Colour by G. F. Watts, of Designs by Flaxman for Dante's “ Inferno ” and “ Paradiso," 1855, and Casts from part of Pheidian Frieze from Parthenon.

13. “Brynhildr” „ „ 36

Coloured Reproduction from Oil Painting by G. F. Watts, begun 1880.

From Casts in Melbury House Garden Studio of the fragments of bas-reliefs (Maidens of Athena), from the Hike Athena Temple on the Acropolis, Athens.

15. The Hon. William Owen Stanley, Twin Brother of

Lord Stanley of Alderley „ ,,54

Front Portrait in Oils, executed in two hours, for the future monument to Mr. Stanley, 1877, eventually placed in the old church in Holyhead in 1897.

16. Sketches for Stanley Monument ,, 54

By G. F. Watts, from a letter.

17. Sketch for Stanley Monument „ ,, 54

By G. F. Watts, from a letter.

18. Pheidian Frieze on Wall of Author’s Studio, sur-

mounted by Copies of Flaxman’s Designs . • „ 64

LIST OF ILLUSTRATIONS xtx

19. Study for Figure in “Chaos” To face page 68

From Painting in Fresco by G. F. Watts (now in Leighton House).

20. Facsimiles of “Scribbles” „ 80

21. “Greece in the Lap of Egypt” „ 82

From Wall Painting by G. F. Watts (now in Melbury House).

22. Facsimiles of Notes in Writing „ „ 84

23. “ Humanity in the Lap of Earth ” „ „ 98

From Wall Painting by G. F. Watts (now in Leighton House).

24. “Assyria and Hindustan” „ „ 100

From Wall Painting by G. F. Watts (in Melbury House).

25. Figures symbolical of the Spirits of Progress and

non-Progress „ „ IOI

From Wall Paintings by G. F. Watts (in Melbury House).

26. Mr. Russell Barrington „ 102

Reproduced in Colour from Portrait in Oils begun by Mrs.

Barrington and finished by G. F. Watts.

27. “The Roman Empire” „ „ 106

From Wall Painting by G. F. Watts. Head of Symbolic Figure from Study in Chalks of Lady Lilford ( Emma Brandling)

(in Melbury House).

28. “Time Unveiling Truth” ,,,,112

Wall Painting by G. F. Watts (in Melbury House).

29. “Peace and War” „ „ 116

Wall Painting by G. F. Watts (in Leighton House).

30. “Peace and War” „ „ 116

Wall Painting by G. F. Watts (in Leighton House).

XX

LIST OF ILLUSTRATIONS

31. Figure meant to be Symbolical of the Mongol

Empire To face page 1 1 8

Wall Painting by G. F. Watts (in Melbury House).

32. Half-length

Figure

REPRESENTING

Poetry .

* 99

33. Half-length

Figure

REPRESENTING

Science .

• 99

34. Half-length

Figure

REPRESENTING

the Arts

• 99

35. Head of an

Old Man .

Executed in five minutes by G. F. Watts, in Pastels on Flock Paper. October 1 886.

36. “Oh! Who will o’er the Downs so Free” . ^ „ „ 168

Reproduction in Colour of Copy executed in Pastels and Oils from Painting lent by G. F. Watts to Author, 1886.

His Picture of “ The Court of Death ” as the background.

38. Facsimiles of Notes written by G. F. Watts . . „ „ 202

From Chalk Drawing by Ckcii. Schott.

40. “Aspiration” » 210

From Head in Chalks by G. F. Wai ts, given to Author in 1887.

REMINISCENCES OF

Chapter I First Impressions

A long time ago — so long ago it seems almost to belong to a previous existence — I was sitting one afternoon ' in Rossetti’s studio watching him painting on the “ Lady Lilith.” My first master, not counting the schoolroom drawing master, was Ruskin, who was very kind to me. He had advised me, if I could get the chance of studying with Mr. Arthur Hughes, to do so. This delightful artist, belonging to the pre-Raphaelite school, consented to take me as a pupil. As part of my art education Arthur Hughes took me from time to time to Rossetti’s studio, where I met the mother of the four distinguished sons and daughters, also the great Christina herself. On this particular afternoon the picture just completed, “The Beloved,” was placed on an easel in the middle of the studio for a few friends to view. As I watched Rossetti painting on the “ Lady Lilith ” and listened as he talked to me about art, I thought I had never before heard any voice of the same curiously beautiful deep-toned quality. Strong and grave was the intonation, and though restrained and gentle, vibrating with temperament.

A

Though no trace of a foreign accent could be discerned, probably it was his Italian origin which gave to the sound the particular ring it had. Rossetti’s eyes and this voice and a long brown Noah’s- Ark-like coat are what I remember as his most striking characteristics. The voice alone would have given distinction to the atmosphere in his studio. This seemed to me an enchanted chamber — the curious quaint beauty of the furniture and ornaments, the pictures in it which, like the voice of the painter, rang out a tune unlike all others ; the garden, seen through a large window opening nearly down to the ground, a garden that might have been a hundred miles from London — indeed it felt to me still farther — away out of the world in a fairy-land, with queer animals disporting themselves therein, all seemed to centre harmoniously round the strong personality of the being who reigned there. Steeped with the glamour of the place, I sat very happily watching his brush and listening to his vibrating deep voice.

The door opened, and a party, consisting of one man and a few large ladies, came in to see the newly-hnished picture. I remember the ladies were large because the man looked small in their midst, otherwise I have no recollection of their appearance. The one figure absorbed all my attention. Habited in a long sealskin coat it was small but in no wise insignificant — on the contrary, it was distinguished in appearance The face was handsome, with a serious countenance suggesting a latent weariness and melancholy hidden under a crust of reserve. His words were few, but he gazed intently at the new picture. From something Rossetti had said when the party entered the room I had realised that this quiet self-contained personality belonged to Watts — Watts the painter and friend of my friend Mrs. Nassau Senior of the rippling golden hair; of Miss Senior,

DANTE GABRIEL ROSSETTI By Cecil Schott

FIRST IMPRESSIONS surrounded in her portrait by the beautiful sky and the grand laurel leaves, put in as the great Venetians would have painted them ; of Miss Eden, with the long throat and rosy fair English colouring ; the painter of yet another portrait which had bewitched me even more than all these, “ A lady singing.” I had met and greatly admired the original of the painting, Miss Russell, the sister of my father’s private secretary, but when I saw her portrait on the walls of the Royal Academy I had quite lost my heart to it. It was not an important work, but it was so very much Watts, unlike any painting of other schools or individuals. It rendered that particular atmosphere and distinction of a modern English lady in a fervent yet restrained language of art. There was atmosphere and loose texture in the quality of the painting, noble truth in the drawing, and the special charm of spontaneity in the brush work. A silvery grey dress with one pink rose fastened to it echoing the fair pink on the cheek, made the colouring of the picture — a slight work of a great master — containing, however, the power of stamping itself on the memory as a thing of beauty, a very true test of greatness in a work of art. And yet another gem I remembered which helped to pile up the interest with which the figure in the sealskin coat inspired me. I had only then seen it once, on the walls of the Academy — the painting on panel called “Choosing,” another of those pictures which once seen is never forgotten. A beautiful fair girl’s head and a perfect throat stretching forward towards a branch of camellias ; a hand slid caressingly under one of the deep pink flowers, the smooth enamel leaves painted as no one but Watts could paint leaves. These pictures were the only work I had then seen painted by the figure standing looking at Rossetti’s picture, but these were enough to single him out as one apart from ordinary mortals. I was young, and art was my passion, so I felt greatly excited and interested in watching the perpetrator of these exquisite things. From the corner behind the canvas of the “ Lady Lilith ” I watched the party come and go.

Some years passed. Just before my marriage I had been seeing my friend Mrs. Nassau Senior frequently. She asked me whether I would not like to see Watts once in the old Little Holland House which was about to be pulled down. She gave me a note of introduction, and Mr. Barrington and I started one afternoon in June, 1868, to Melbury Road, then in the process of being made. The carriage had to drive over bricks and mortar and the roughest of ground to reach the old thatched porch of Little Holland House. The low building stood in melancholy isolation in the midst of this untidy confusion. Inside, except the work in the studios and the paintings by Watts on the walls, everything seemed to hang on its last thread. I suppose my mind was too full of other things at that moment, for I cannot even remember the pictures I saw that day, only that Watts was very kind and talked pleasantly, and would insist on seeing me to the porch, which I tried to prevent his doing by saying good-bye in the studio. Mr. Barrington had remained in the carriage, as he said he never knew what to say to artists about their own work. I did not know what excuse to make for his seeming indifference when Watts asked whether he would not come in.

We had been married five years when, after an illness I had had, we went at Easter to Freshwater. Our friend Mrs. Ritchie, then Miss Annie Thackeray, was staying there at that time.1 Watts had built his house, The Briary,

1 The memory of this visit to Freshwater still conjures up charming scenes. Osier-beds spread over with a bloom of juicy pink, and meadows decked with bright gold king cups where we sat on the bent trunk of a willow tree reading

MRS. NASSAU SENIOR From Pencil Drawing by G. F. Watts

FIRST IMPRESSIONS and again my dear friend Mrs. Nassau Senior gave us a letter to him. There was illness at The Briary, but Watts met us outside and often walked with us in the lanes and on the downs. I can recall his figure now as he sauntered with us along the country roads in the soft grey hat he always wore and a loose cape flying in the wind. He was a much less formidable looking person than the Watts in Rossetti’s studio.

It was at Freshwater he gave me my first lesson. I was painting a pretty thatched cottage in one of the lanes when he opened the little garden gate and stood over my easel. I remember his saying I had painted the old chimney of the cottage as the Venetians would have painted it — cleanly and frankly with no smudged edges. Besides desiring always to see the best in everything, Watts had a natural gift for doing so. This gave a very flattering tone to his criticisms, and these have at times unfortunately raised hopes never to be realised. It was not insincerity which made Watts say nice things which were excessive about the work he was shown ; it was a genuine wish to discover anything that might be good in it, combined with an absence of the critical faculty. The mistake he made was, I think, that, having a habit of mind which depreciated his own work, he did not realise the weight which every word he spoke had in the minds of students, who not unnaturally exaggerated the value of the performances he had praised. I do not remember

“The Newcomes” ; a poetical ball at Farringford, where the music was soft and low, and where I first saw the beautiful face of the poet’s wife; and I still see a clear picture of Tennyson waltzing round to the dreamy music with a pretty young American lady, evidently greatly enjoying the dance; a picnic on the downs above the Needles, when Tennyson took me to the spot where, lying down on the edge of the turf, looking over straight down on the shore, you see waves of wonderful colour, emeralds, sapphires, and amethysts, flowing up to the wall of the white chalk cliff.

being over-elated by Watts’ kindness, for I had just got far enough to know that I could paint nothing as I wanted to paint it ; and, being critical by nature, I had within myself my harshest fault-finder. But his sympathy with me in my small efforts certainly tended to make us friends. When we were leaving Freshwater, he asked us not to forget to come to see him in his studio in the new Little Holland House which he had built in Melbury Road. I had no difficulty in remembering to do so, for I felt he was already a friend. I took him the work I was doing, and we had long talks together, when he explained to me very exhaustively his views about his own art. He regretted often during these conversations not having any one to help him in achieving his aims, half suggesting that I might perhaps be able to do so. I did not take the matter up at the time, but after discussing it with Mr. Barrington, wrote and told Watts if I could in any way help him I should be proud to do so. In a letter dated April 7, 1876, L. H. H., Watts writes : “ A thousand thanks for your offer. I don’t know

but what you might help me with some advantage to

yourself, because any one who does help me must go profoundly into the matter, and if real study has any charms for you, why, perhaps, you might be willing to undergo some stiff and stern application ; but, I can tell you, help to me in the works I have proposed to myself, and indeed have plunged into, would be no child’s play. If you will come and see me any day between 2.30 and 5 we may talk over possibilities. Thornycroft the sculptor has commenced to build two semi-detached houses next door to me. He intends to live in one and let or sell the

other. It strikes me this house might suit you.” I went

one day soon after receiving this letter to see him, and Mr. Barrington arranged to take the house that was being

MRS. NASSAU SENIOR

From the Painting by G. F. Watts

5I0IP1H3 UA22AVI z)i$W ♦'‘I .0 yd aril moi'I i

A jj V

FIRST IMPRESSIONS 7

built to which Watts referred in his letter. I felt this was indeed a delightful opportunity of entering into the highest precincts of art under the most helpful auspices. I wrote these, to me, most interesting facts to my friend Mrs. Nassau Senior, who replied : “ What a comfort it is to me that you will be near Watts, to urge him to his noblest work and to stave off too many distractions (or should I say attractions) ! ”

I have always viewed our friendship with Watts as a legacy from this beautiful friend, of a nature so large, so generous and tender-hearted — one whose name will ever be associated with those who have most befriended young girls of all classes. In the full-length portrait which Watts painted of her she is represented as watering and bending over her flowers with loving care. He told me he had tried to suggest in this picture her beneficent gracious nature.