The fact is that this kind of art in which Watts and Burne-Jones were pioneers is an art which has not yet come to its culmination or to any perfect expression of itself. There is a genuinely individual impulse in it, and it is not derivative merely, although almost every phase of it can be related to earlier art. It has nothing in common with the so-called grand school of painting which produced worthless imitations of Michael Angelo and Raphael. It is feeling out for a new world, and it is trying to use the older tradition as a bridge. The older art held up a mirror to natural forms and brought them nearer to man. In the perfect culmination of this new art one feels how a complete change might take place and natural forms be used to express an internal nature or the soul of the artist. Colors and forms, like words after the lapse of centuries, enlarge their significance. The earliest art was probably simple and literal--there may have been the outline of a figure filled up with some flat color. Then as art became more complex, colors began to have an emotional meaning quite apart from their original relation to an object. The artist begins unconsciously to relate color more intimately to his own temperament than to external nature. At last, after the lapse of ages, some sensitive artist begins to imagine that he has discovered a complete language capable of expressing any mood of mind. The passing of centuries has enriched every color, and left it related to some new phase of the soul. Phidian or Michael Angelesque forms gather their own peculiar associations of divinity or power. In fact, this new art uses the forms of the old as symbols or hieroglyphs to express more complicated ideas than the older artists tried to depict. Watts never attempted, for all his admiration of these men, to follow them in their efforts to realize perfectly the forms that they conceived. They had done this once and for all, and repetition may have seemed unnecessary. But the lofty temper awakened by those stupendous creations could be aroused by a suggestion of their peculiar characteristics. Association of ideas will in some subtle way bring us back to the Phidian demigods when we look at forms and draperies vaguely suggestive of the Parthenon. I do not say that Watt's did this consciously, but instinctively he felt compelled, with the gradual development of his own mind, to use the imaginative traditions created by other artists as a language through which he might find expression peculiar to himself. It is a highly intellectual art to which tradition was a necessity, as much as it is to the poet, who when he speaks of "beauty" draws upon a sentiment created by millions of long-dead lovers, or who, when he thinks of the "spirit," is, in his use of the word, the heir of countless generations who brooded upon the mysteries.