Let us now turn to Watts. Over two pages are accorded him, one page being devoted largely to eulogy, a passage of which reads: “It was the rare combination of supreme handicraft with a great imaginative intellect which secured to Watts his undisputed place in the public estimation of his day.” Furthermore, we hear of “the grandeur and dignity of his style, the ease and purposefulness of his brushwork, the richness and harmoniousness of his coloring.” But those “to whom his exceptional artistic attainment is a sealed book have gathered courage or consolation from the grave moral purpose and deep human sympathy of his teaching.” Here we have a perfect example of the parochial moral uplift which permeates the _Britannica’s_ art criticism. The great Presbyterian complex is found constantly in the judgments of this encyclopædia. So important a consideration to the _Britannica’s_ critico-moralists is this puritan motif that the fact is actually set down that Millais was devoted to his family! One wonders how much influence this domestic devotion had on the critic who spends a page and a half to tell us of Millais, for not only is this space far in excess of Millais’ importance, but the statement is made that he was “one of the greatest painters of his time,” and that “he could paint what he saw with a force which has seldom been excelled.” Unfortunately the few who excelled him are not mentioned. Perhaps he stood second only to Turner, that super-dreadnought. Surely he was not excelled by Renoir, or Courbet, or Pissarro, or Monet, or Manet, or Cézanne; for these latter are given very little space (the greatest of them having no biography whatever in the Encyclopædia!); and there is no evidence to show that they are considered of more than minor importance.