rence into something mystical and supernatural. He often saw less majestic shapes than those of the poets of old. 'Did you ever see a fairy's funeral, madam?' he once said to a lady, who happened to sit by him in company. 'Never, sir!' was the answer. 'I have,' said Blake, 'but not before last night. I was walking alone in my garden, there was great stillness among the branches and flowers and more than common sweetness in the air; I heard a low and pleasant sound, and I knew not whence it came. At last I saw the broad leaf of a flower move, and underneath I saw a procession of creatures of the size and colour of green and gray grasshoppers, bearing a body laid out on a rose leaf, which they buried with songs, and then disappeared. It was a fairy funeral.' It would, perhaps, have been better for his fame had he connected it more with the superstitious beliefs of his country—amongst the elves and fairies his fancy might have wandered at will—their popular character would perhaps have kept him within the bounds of traditionary belief, and the sea of his imagination might have had a shore.
After a residence of three years in his cottage at Felpham, he removed to 17 South Molton Street, London, where he lived seventeen years. He came back to town with a fancy not a little exalted by the solitude of the country, and in this mood designed and engraved an extensive and strange work which he entitled 'Jerusalem.' A production so exclu-
