Questions to arouse interest. How many of you have read Tennyson’s The Holy Grail? What was the Holy Grail? Why did men seek it? Tell what you can of Sir Galahad and his adventures.

The story of the picture. When asked to decorate the walls of the Delivery Room of the Boston Public Library Mr. Abbey planned to represent “The Sources of Modern Literature,” thinking this would be most appropriate, as Mr. Sargent had chosen “The Sources of the Christian Religion” for the subject of his pictures on the walls of a gallery on the third floor of the same building. But as Mr. Abbey read and studied the subject he became impressed with the story of the Holy Grail, which seemed to be woven in and out through all our literature. He realized also that he would be the first to represent this subject in a large decoration, and that it was altogether worthy of his best efforts.

The paintings occupy the wall space between the wainscot and the ceiling of this great room, where books of the library are given out and returned. The pictures are eight feet in height, but vary in length from the first, “The Vision,” which is six feet long, to the fifth, “The Castle of the Grail,” which is thirty-three feet long and extends the entire length of the north wall.

Mr. Abbey spent seven years in careful research work before he was able to complete these paintings. He received fifteen thousand dollars for his work.

According to an old legend, the Holy Grail was the cup from which Christ drank at the Last Supper. It was bought from Pilate by Joseph of ArimathÆa, who caught in it the divine blood that fell from Christ’s wounds.

Joseph placed the cup in a castle, which he kept guarded night and day. It was passed on to his descendants, who received the charge in sacred trust and continued 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 was borne away as if by some invisible hand, completely disappearing from view.

The sight of it was as food to the one to whom it was revealed and enabled him “to live and to cause others to live indefinitely without food,” gave him “universal knowledge,” and made him invulnerable in battle. But there was one thing it did not do. No matter how perfect the knight, he could still be tempted. He must continue to resist temptation as long as he lived.

At length there came a king, keeper of the Grail, called Amfortas, the Fisher King, who was not strong enough to resist temptation. He yielded to an evil enchantment and 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 until a knight pure in body and soul should come to break the spell and set them free.

Little was known about the enchanted castle, where the king and his men were held in the power of the spell, but 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, the stainless knight, who succeeds in his quest of the Holy Grail.

Mr. Abbey has told the story in fifteen pictures, beginning with Sir Galahad as a child.

“THE INFANCY OF GALAHAD,” OR “THE VISION”

Galahad was the son of Launcelot and Elaine, for it was according to an old prophecy that these two should have a son who should become a great knight and find the Holy Grail.

They placed their small son in a convent to be brought up by the nuns. In the first picture we see the child attracted by a bright light visible to him alone. He laughs in great delight and reaches toward the Grail as he sees it gleaming fiery red through its veil-like covering. It is held in the hands of an angel radiant in white as the light from the Grail illumines her face and wings. She is supported by the wings of doves, upon which she seems to be borne along. These doves signify the Holy Spirit and are also represented as hovering near the Grail and acting as informants concerning good and evil. The odor of the incense from the Grail furnishes a mysterious sustenance to the child which causes him to grow in mind and body. He is held high in the arms of a sweet-faced young nun who does not see the vision but seems to feel vaguely that some unusual event is taking place. In the original painting the bluish black of her outer robe throws into greater prominence the creamy white of her draperies as they, too, are flooded with light from the Grail.

The background gives the effect of heavy tapestry and is made up of tones of blue and white embroidered in gold. The figures of lions and peacocks are used to signify the resurrection.

“THE OATH OF KNIGHTHOOD”

When the child had grown to manhood, Sir Launcelot was summoned to make him a knight. In this picture we see Galahad in the convent chapel, where he has just passed the night in prayer preparatory to his departure out into the world.

As he kneels at the altar, he is clad in the red robe which is worn by the hero throughout the series of pictures. Red is chosen as the color of spiritual purity and means the “spirit cleansed by fire.” “It stands for activity, conflict, human effort with the knowledge of good and evil that imparts the strength to achieve the good and resist the evil.”

The honor of knighthood is conferred upon Galahad by Sir Launcelot and Sir Bors, who can be seen in their heavy armor kneeling behind him. They fasten the spurs upon his feet as a signal that the moment of departure has arrived.

The time of day is shown by the two candles at the altar which have been burning all night and are now burned low in their sockets, and by the faint early light of dawn which comes stealing in through the small windows at the left of the picture. Just behind the knights stand a group of nuns, holding tall candles which light up the dark room and reflect on the white robes and shining armor. The interior decoration of the church is plainly shown. Our attention is drawn to the quaint crucifix just back of the kneeling knights, and the figures surrounding it.

The architecture is that of the Early Christian Romanesque. Sir Galahad’s face is partly in shadow, as if lost in deep thought. But the moment of departure has arrived. He will take up the helmet, which lies near him, and leave the convent for his first glimpse of the outside world. He must go to the wise teacher, Gurnemanz, to learn not only the rules of knighthood but the ways of the world, before he may start on his quest of the Holy Grail.

“THE ROUND TABLE OF KING ARTHUR”

Having been fully instructed in all the ways of the world by the good Gurnemanz, Sir Galahad starts out on his quest. First he goes to the Round Table of King Arthur and his knights in Camelot. He finds them holding a solemn meeting, their leader having just declared that this is the day when, according to prophecy, the stainless knight should come who should occupy the Siege Perilous. The Siege Perilous was a chair over which the magician, Merlin, had cast a spell, so that no man could sit in it without peril of death. Even Merlin himself was lost while sitting in his own chair. Only a blameless knight could hope for safety in this perilous seat. While Arthur and the knights are discussing the prophecy, there suddenly appears a strange old man clothed in white, whom none has seen before.

He comes toward the throne of King Arthur, leading Sir Galahad by the hand. The door and windows quietly and mysteriously close of themselves; the room is filled with a strange light. The Angel of the Grail appears before them, and gently lifts the red drapery from the chair. The encircling choir of angels look on silently as all read above the chair, in letters of fire, the flaming words, “This is Galahad’s seat.”

This picture shows them at that breathless moment when the letters of golden light appeared over the chair. King Arthur has risen from his seat to greet Sir Galahad; a small page kneels beside the king, while the jester half rises at the wondrous sight. Sir Galahad wears the same red robe, fastened with a golden brown girdle—a gift from the nuns when he was leaving the convent.

“THE DEPARTURE”

A wonderful rock of red marble has been discovered, protruding from the surface of a river. From its side projects a shining sword which none has been able to draw out. The king and his knights hasten to see this sword, but none succeeds in moving it. Now Sir Galahad arrives and draws the sword without the slightest difficulty, placing it in his empty scabbard, where it fits exactly. He also secures a shield which had been left for him by his ancestor, and, thus armed, he is ready to start out in search of the Grail. Most of the knights, persuaded by this series of strange events that Sir Galahad is to be the true knight, decide to join him in his search.

Before they start on their long and perilous journey they gather in the church for a final benediction. So here again we see the interior of a church. The bishop’s hands are raised in a parting benediction over the group of kneeling knights clad in shining armor and holding their lances erect. Many strange banners float above them. Sir Galahad alone has bared his head. His helmet is on the floor beside him. Other kneeling priests may be seen just behind the bishop. The scene is one of solemnity and dignity.

“THE CASTLE OF THE GRAIL AND THE FAILURE OF GALAHAD”

King Amfortas, keeper of the Grail, who yielded to temptation and so was denied the sight of the Grail, and his knights, upon whom was cast a fearful spell which was neither sleeping nor waking, anxiously await the arrival of Galahad. But, it is not enough that he should come; he must ask a certain question which alone can free them from their living death.

Here we see Sir Galahad in the enchanted castle, a puzzled onlooker. He looks silently about him at the feeble old king and his wretched company. He sees, too, the procession of the Grail, which, although the king and his court cannot see it, is constantly passing before them. This procession includes the Angel, bearer of the Grail, a damsel carrying a golden dish, two knights who carry seven-branched candlesticks, and a knight holding a bleeding spear.

Sir Galahad must ask the meaning of what he sees and by his question remove the enchantment. But, over-confident in his own knowledge, he tries to solve the mystery by himself, and fails. The procession of the Grail is shown to the right of the throne upon which King Amfortas half sits, half reclines, while the rest of the weird company look solemnly on as Sir Galahad stands transfixed with amazement and perplexity because the spell is not removed as he expected. Because of his failure to ask the necessary question, these people must continue to suffer. Several years later he returns, a wiser man, and releases them. Personal purity alone was not enough; wisdom was necessary, and to secure this he must ask a certain question. He could not attain knowledge through himself alone, but must seek it from the experience and understanding of others.

“THE LOATHLY DAMSEL”

The next morning after his failure the castle seems deserted, but when Galahad starts out he finds his horse saddled and waiting for him. The drawbridge is down, so thinking perhaps the king and knights are in the forest, he rides across the bridge in search of them. Instantly the drawbridge closes with a crash, and there is a great sound of groaning and of voices reproaching him for having failed in his quest. The castle disappears from sight, and Galahad roams disconsolately in the woods. Finally he sits down to rest and think. He is aroused by the passing of three enchanted maidens, the Loathly Damsel and her two followers.

In the picture we see her riding a white mule richly caparisoned. Her form suggests beauty, yet the face is ugly and distorted, her head bald so that she must wear a hood. In her hands she carries the ghastly head of a king wearing a crown, and she seems depressed by her burden. Forced by the spell to go about harming mankind against her will, she is angry with Sir Galahad for having failed to release her. In her anger she reproaches him for not having asked the question while within the castle, and so here for the first time Sir Galahad learns why he failed.

Once a beautiful woman, the Loathly Damsel must ride about thus unhappily. The head and shoulders are all that is visible of the second damsel, apparently riding. The third, dressed as a boy, carries a scourge with which she forces the two mules onward.

Sir Galahad bows his head in silence at their reproaches, humbly feeling that he deserves them.

Many years of sorrow and suffering must pass before he can again find the Castle of the Grail.

“THE CONQUEST OF THE SEVEN DEADLY SINS”

Continually seeking the Castle of the Grail, Sir Galahad wanders about in this enchanted land. At length, catching a glimpse of a strange castle, he makes haste to reach it, and finds it to be the Castle of Imprisoned Maidens. These maidens represent the Virtues; and their jailers, the Seven Deadly Sins. Arriving at the gate of the castle, he finds it guarded by these seven knights. A fierce conflict ensues in which Sir Galahad is victorious. This is the only picture in the series in which he is represented in violent physical conflict; the others represent more of the inner spiritual conflict. The seven knights, wearing heavy armor and carrying immense shields, are represented in dull gray colors, while our hero, wearing his chain armor over his red robe, is easily distinguished by the shining gold of his helmet and the red of his shield.

“THE KEY TO THE CASTLE”

Sir Galahad defeats the seven knights but he does not slay them, and they turn and flee. This signifies that although the seven sins can no longer trouble the pure soul, yet they are still about in the world.

Passing the outer gate, Sir Galahad is greeted by the keeper of the inner gate, an aged man who blesses him and gives him the key to the castle. With helmet in hand, Sir Galahad kneels reverently before the saintly man who greets him kindly as he holds toward him the great key.

“GALAHAD DELIVERS THE CAPTIVE VIRTUES”

Sir Galahad enters the castle and is welcomed by the maidens, who have long been expecting him, for it was according to prophecy that a perfect knight should come to deliver them.

Mr. Abbey has represented these maidens as most beautiful in form and feature. They are dressed in pale colors such as blue, white, rose, and lilac, richly embroidered with gold. Our hero is turned away from us as he humbly receives the shyly offered gratitude of the fair maidens. His helmet and shield may be seen on the floor beside him. In size and importance this large picture is a sort of companion picture to the one on the opposite side of the room, “The Round Table of King Arthur.” Both are beautiful in color and symmetry.

“GALAHAD PARTS FROM HIS BRIDE, BLANCHEFLEUR”

Having released the imprisoned Virtues that they may go about in the world doing good, Sir Galahad returns to King Arthur’s court and marries the Lady Blanchefleur, to whom he had become betrothed while a pupil of Gurnemanz.

On his wedding morning the vision of the Grail appears to him many times, and the thought of poor old King Amfortas, awaiting the knight who is to release him, saddens Galahad. He is seized with a great desire to continue his quest, and finding his young bride in sympathy with his ambition, he decides to start out that day on his journey.

The picture represents the bride Blanchefleur seated in her wedding clothes, the wreath of roses still on her head and holding a bunch of roses in her hands. Sir Galahad waves his hand in parting, preparatory to donning his shield and sword, and goes forth to join the companion waiting for him at the gate. The bride shows no signs of grief, for she knows it is according to the prophecy that he should successfully accomplish his quest, and she feels the high purpose which calls him. And Galahad goes forth with renewed faith and inspiration to the final accomplishment of his great quest.

“AMFORTAS RELEASED BY GALAHAD”

After many days he again finds the Castle of the Grail. Upon entering, he sees the same procession passing before the unseeing eyes of the suffering King Amfortas and his unhappy knights. As before, he cannot understand it, but grown wiser by his hard-earned experience, he now knows that he must ask the question. His keen sympathy for the king brings the involuntary question to his lips, “What aileth thee, O King? And what mean these things?” At his words the spell is broken, and all is light and life again.

But King Amfortas wishes for nothing more in life than to be permitted to die in peace. So in this picture we see Sir Galahad affectionately bending over the dying Amfortas as he lifts him up that he may see the vision of the Grail, at last made visible to him again. The Angel is carrying it away from the castle, and it is not seen again until Sir Galahad finally achieves it at Sarras.

“GALAHAD THE DELIVERER”

Not only has Sir Galahad released the inmates of the enchanted Castle of the Grail, but he has removed the spell that was upon all the country round, the Loathly Damsel, and all others. But he has not yet achieved the Grail itself. So he starts out once more on his noble white charger, surrounded by the grateful people, chief among them the Loathly Damsel who so bitterly upbraided him at his first failure. Now restored to beauty and virtue, she is kneeling in the foreground of the picture.

The hero rides erect, carrying his banner, and looking straight ahead. We see the houses of the people in the background, and catch a glimpse of the sea toward which Sir Galahad rides.

“THE VOYAGE TO SARRAS,” OR “SOLOMON’S SHIP”

According to the legend it was in the time of the wise King Solomon that a ship of mysterious and wonderful workmanship had been built. Just as King Solomon was about to go on board strange letters of fire, written in the air by an angel, warned him not to enter. As he stepped back, the ship suddenly started off by itself and disappeared out to sea. In some miraculous way it had been kept all these years to fulfill its destiny and bring Sir Galahad to Sarras, where he should achieve the Grail. And so, coming to the shore of the sea, he finds there the ship waiting for him. Little is known of the city of Sarras, except that it is supposed to have been in the Holy Land, and that this was the place where the Holy Grail was to be found.

In the picture is represented the voyage to Sarras on King Solomon’s ship. It is a frail-looking ship, guided by the Angel of the Grail, guarding her treasure. Two knights, Percival and Bors, have been permitted to go with Sir Galahad on this journey. They cannot see the Grail itself, having sinned once, yet their faith and persistent search have made it possible for them to go with him.

“THE CITY OF SARRAS”

When they arrived at the city of Sarras, Sir Galahad’s shield was at once recognized, and the voyagers were treated as holy men. The knights went about doing good, and through the power given them by their purity they were enabled to heal the sick and the crippled.

The news of their good works aroused the jealousy and anger of the wicked king of that country, who cast the three knights into prison. Here they were fed by the Holy Grail. The wicked king grew very ill and at last sent for them, begging their mercy. Scarcely had they granted it when the king died. The whole city proclaimed Galahad king.

So here in this picture we see Galahad’s sword and shield laid aside, his adventures over. Three ships are anchored in the bay of the quiet city, and the tall buildings with their stately towers are surrounded by a great red wall.

“THE GOLDEN TREE AND THE ACHIEVEMENT OF THE GRAIL”

Galahad had been king of Sarras over a year when sailing one day, in his ship, he prayed that “when he might ask it, he should pass out of this world.” He is promised that his request will be granted and that then he shall see the Holy Grail unveiled.

In this picture the Golden Tree signifies his work on earth completed. As he kneels and makes his request, his sword and shield, now useless, fall from him and the Grail is revealed to his sight. Seven angels with wings of crimson surround him. The Grail is borne heavenward, never to be seen again on earth. Divine wisdom has been attained.

Questions to help the pupil understand the picture. Where are the original paintings? Why did Mr. Abbey choose this subject? What preparation did he make before he painted these pictures? What was the legend of the Holy Grail? What power did the Holy Grail not have? What happened to King Amfortas? Why did Sir Galahad wish to find the Grail? What was required of the knight who should find it? What preparation did Sir Galahad make? What strange events made the other knights decide to follow Sir Galahad? Why did Sir Galahad fail when he reached the Castle of the Grail? How did his failure affect the people about him? Tell about the conquest of the Seven Deadly Sins. What became of the seven sins, and what does that signify? Tell about Sir Galahad’s final success.

To the Teacher: Pupils may be asked to prepare and give orally short descriptions of at least one picture; class discussions should be encouraged.

After the entire series has been studied, pupils may choose one of the pictures as a subject for English composition work. They will be interested in reading Tennyson’s Sir Galahad, The Holy Grail, or other selections from the Idylls of the King.

The story of the artist. Mr. Edwin Austin Abbey was born in Philadelphia, Pennsylvania. He is one of the few great American artists who has won fame both at home and abroad. Living in Philadelphia, he attended the Pennsylvania Academy of Fine Arts, which he left at the age of nineteen to enter the art department of Harper and Brothers, New York City. His first success came as an illustrator for their publications. It was through the Harpers, too, that he went to England, for they sent him there to gather material for some poems which they wished him to illustrate. He was especially interested in literary subjects, and while in England prepared many of his best illustrations, among them those for Shakespeare’s comedies and for Goldsmith’s She Stoops to Conquer.

His water colors and pastels were also very popular. His most important work in oils—“The Holy Grail,” is in the United States. When this picture was almost finished he went, at the request of King Edward VII, to paint a picture of the coronation. The groups of figures, with their elaborate costumes and rich coloring, offered every inducement to one who so loved these things. Mr. Abbey became very popular in England. He received many medals, and all possible honors both at home and abroad.

SUPPLEMENTARY READINGS

Questions about the artist. Who painted this picture? Where was he born? Where did he study? How did he achieve his first success? How did he happen to go to England? What is his most important work? Where was it painted?