SIR GALAHAD

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Questions to arouse interest. Who is this man? How is he dressed? What do his armor and title “Sir” tell us he is? How many have read Tennyson’s poems telling the story of the knights of the Round Table? What does Sir Galahad look as if he were about to do? Why do you think he is starting on a journey, rather than returning from one? Why do you think it must be an important journey? How will he go? What was expected of a knight in those days? Tell of some of their good deeds. What would you judge the character of this knight to be? Where is he represented in this picture? Is he walking, or standing still? looking at something in particular, or lost in thought? Does he appear angry, meek, determined, hesitating, thoughtful, or dreamy? What do his clasped hands indicate? What color is the horse? Upon what part of the man and horse does the light fall? What would you consider the main thought expressed in this picture?

Original Picture: Collection Alexander Henderson, M.P., London, England.
Artist: George Frederick Watts (wots).
Birthplace: London, England.
Dates: Born, 1817; died, 1904.

The story of the picture. Many wonderful stories have been told of the famous knights of the Middle Ages, but none perhaps more interesting than the adventures of the knight Sir Galahad when he went in search of the Holy Grail.

In those times the greatest praise a boy could hope to receive was “You are brave enough to become a knight some day,” or “You are as courteous as a knight”; and his greatest ambition was to receive this title as he knelt before his sovereign or a superior knight. In those days boys were carefully trained for knighthood, just as for any other profession. They were sent away from home when very young, and spent at least ten years under severe discipline and training.

The boy Galahad had passed through these years of preparation. He had been taught to be quick in action,—managing a horse so that he could jump on or off while it was in full gallop,—to throw his spear with sure aim, to run swiftly, to obey all commands promptly; and, more difficult still, he had learned to wait patiently and uncomplainingly when he could not understand why he should wait.

Now he was twenty-one years old. Knighthood had been bestowed upon him, according to the custom, by a blow with the flat of the sword on his shoulder as he knelt, and the words, “Arise, Sir Galahad.” And now he was ready to start out on his quest for the Holy Grail.

The Holy Grail was the cup from which Christ drank at the Last Supper. It was bought from Pilate by Joseph of ArimathÆa, and placed in a castle where it was guarded night and day. It was passed on to Joseph’s children, who received the charge in sacred trust, continuing to guard it faithfully. The cup itself was most mysterious and wonderful. It could be seen only by those who were perfectly pure in word, thought, and deed. If an evil person came near, it would seem to be borne away, completely disappearing from view. The sight of it was as food and new life to the one to whom it was revealed, and hence would enable him to live forever, make him very wise, and of course preserve him from death in battle. But there was one thing it did not do,—it did not take away temptation to sin. No matter how perfect the knight, he could still be tempted. He must continue to resist evil as long as he lived.

After a time, the Holy Grail was left in the care of a king named Amfortas, who, weakly yielding to an evil enchantment, was severely punished. Not only was the sight of the Grail denied him, but a spell was cast upon him and all his court, so that they lived in a sort of trance, neither sleeping nor waking. Thus they must remain and suffer until a knight should come, pure in body and soul, who should break the spell and set them free.

Many a young man began to plan the quest of the Grail. He must so live that by his good thoughts and deeds he might reach the enchanted castle, see the Holy Grail, and so set free the unhappy knights. He must be perfect, indeed, if he would achieve this, and full of courage, perseverance, and patience.

In our picture we see Sir Galahad all ready to mount his snow-white horse and start out on his search for the Holy Grail. He is in full armor. His coat of mail, which all knights wore, was proof against any opponent of the time, except one equally armed and armored. It is said that a party of knights could ride unharmed through a host of common soldiers. The horses, too, were protected. But if the knight were once unhorsed and thrown upon his back, he was so weighed down by the stiff and heavy armor that he could not rise again without help. The knight’s weapons consisted of the lance, the two-handed sword, and a short, sharp dagger.

Sir Galahad had secured his sword and shield in a most mysterious way. The sword had been discovered protruding from the side of a wonderful rock of red marble jutting out from the surface of a river. This wonderful sword no one had been able to draw out of the rock. But when Sir Galahad tried, the sword came out without the slightest difficulty, and when he placed it in his empty scabbard, it fitted there exactly. The shield had been found by Sir Galahad in an old church, where it had been left for him by an ancestor, and where it had remained undiscovered for those many years.

Then, too, when Sir Galahad came to the Round Table of King Arthur and his knights in Camelot, he found them in the midst of a solemn meeting. Launcelot had just declared that according to prophecy a knight should come that very day who should occupy the Siege Perilous. The Siege Perilous was a chair over which the magician Merlin had cast a spell: only a stainless knight could sit in it without danger of instant death. As Sir Galahad entered the room he was preceded by a strange old man, whom none had ever seen before. Then the doors and windows quietly and mysteriously closed of their own accord, and the room was filled with a strange light. These words, in letters of fire, appeared over the chair: “This is Galahad’s seat.” By all these mysterious happenings the knights knew that Sir Galahad would be successful in finding the Grail, and many accompanied him on his quest.

Sir Galahad met with many adventures on his quest for the Grail and, in all of them, came out victorious. At length he reached the Castle of the Grail, and here he met his first defeat.

Entering the castle he gazed silently about him, at the feeble old king and at the wretched company whom he had come to free from their living death. Before him passed the vision of the Grail, which he alone of all that company was permitted to see. But it was not enough to see all this; he was expected to ask the meaning of what he saw, and by his question remove the enchantment. But, overconfident in his own knowledge, he tried to solve the mystery without asking, and so was forced to depart without success.

Here, at the very moment he was about to succeed, he was found to be possessed of the one fault, overconfidence, lacking in that humbleness which seeks constantly for higher knowledge. Because of his failure to ask the necessary question, the enchanted company had to continue to suffer. His personal purity alone was not enough; wisdom was necessary, attainable not through himself alone, but from the experience and understanding of others. As he left the castle grounds the drawbridge closed with a crash, there was a great sound of groaning and of voices reproaching him for having failed in his quest, and the castle disappeared from his sight. Much discouraged, he sought it again through many years, until at last he found it once more, and this time, a much wiser man, he asked the vital question, broke the wicked spell, and eventually found the Holy Grail.

Tennyson has given us the story in verse in his “Holy Grail.”

This picture is one we often see in homes, as well as in schoolhouses, and in many public buildings. It stands for the search for higher ideals which we are all making, and so its appeal is universal.

The earnest, uplifted face of the knight is full of youth and beauty. The horse, with his great, intelligent eyes, seems to know the importance of his errand.

The light comes from before them, brightening the pathway as if it would lead them on and on through the tangle of vines and deep woods which opposes them.

If you have been fortunate enough to see a suit of armor in some museum, you know how the heavy steel coat is planned and how the helmet, which Sir Galahad has taken off, will protect his head and face.

It is a moment of deep meditation and prayerful thought, for Sir Galahad is about to start out upon an undertaking in which many have failed and in which he cannot be sure of success. There is much of humility in his expression, nothing of the proud, dashing air of the adventurer.

This earnest, thoughtful youth, starting out full of courage and determination, will always have time for the little courtesies of life, for they are a part of his creed. A true knight, he has been taught, should defend to the uttermost the oppressed, aid the weak, and be brave, courteous, chaste, temperate, generous, and pious.

Questions to help the pupil understand the picture. Who was Sir Galahad? Upon what quest is he about to start? What preparation has he made for it? How old is he now? How did he receive the title “Sir”? What was the Holy Grail? What power had this cup? What could it not do for the person who saw it? Why was the sight of the Grail denied to

King Amfortas? What other punishment did he receive? Who could break this spell? how? What did Sir Galahad hope to do? How is he dressed? What protection was this armor? What might happen if he should be unhorsed? What weapons did he carry? How had Sir Galahad secured his sword and shield? Tell about the Round Table of King Arthur and the Siege Perilous. What happened when Sir Galahad entered? Of what did all these mysteries persuade the other knights? What happened when Sir Galahad came to the Castle of the Grail? Why did he fail? What was the result of this defeat? When did he succeed? What was the result? What is the main thought expressed in this picture?

The story of the artist. George Frederick Watts was born and raised in London, England. He learned to draw, we are told, much in the same way he learned to talk. His parents encouraged him always, and he seems to have had very few obstacles to overcome.

Though Watts entered the Royal Academy school of painting at an early age, he did not study there long. His art education was thus gained largely by his own efforts and observation. He studied ancient Greek sculpture closely and his work was always influenced by the classical standard.

Watts lived in an age when the spirit of reform was uppermost, and men were preaching, thinking, and living it. No wonder, then, his work is full of thoughtful purpose, urging us on to the best that is in us.

He said, “I want to teach people to live ... to teach something higher than money making or mere pleasure getting ... to suggest great thoughts.” He did not paint, as many others had, for the mere pleasure of it, or even from inspiration, but rather for some definite purpose. In the Tate Gallery at London is a great collection of the paintings which give the artist’s message to the world. In 1843 the Royal Commission appointed for the decoration of the new Houses of Parliament awarded one of the prizes to Watts for his fresco design. This enabled him to study in Italy for three years. There he gained much in the richness of his coloring and ease in brush-work.

Of his paintings for the government “The First Naval Victory of the English” and “St. George Overcomes the Dragon” are perhaps the best known. Other famous pictures by Watts are entitled “Ganymede,” “Orpheus and Eurydice,” and “Psyche.” In 1867 Watts became a member of the Royal Academy. He worked very hard, producing a great many paintings. With noble generosity he donated a large number of pictures to his country, particularly portraits of famous men, among them Lord Tennyson, Robert Browning, Swinburne, Dante, Gabriel Rossetti, Burne-Jones, and William Morris.

The last few years of his life were devoted principally to portrait painting. When Tennyson was writing “Elaine,” he asked Watts to tell him his idea of a good portrait, and afterwards wrote this description from the answer:

“As when a painter, gazing on a face,
Divinely thro’ all hindrance finds the man
Behind it, and so paints him that his face,
The shape and color of a mind and life,
Lives for his children ever at his best.”

Questions about the artist. Who was the artist, and where was he born? What help did he have in realizing his ambition to become an artist? What was his aim in painting pictures? Give in your own words Mr. Watts’s idea of what a good portrait should be. What helped him to go to Italy? What benefit did he get from his study in Italy? Name some great men whose portraits Watts painted.


                                                                                                                                                                                                                                                                                                           

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