engraving gives no hint of the refinement of Romney's art. In so mannered, level a piece of workmanship, industry of hand is more visible than of mind. Another is after the stiff, Lely-like portrait of Cowper's mother, by D. Heins, which suggested the poet's beautiful lines. In Vol. II, we have a good rendering of young Lawrence's clever, characteristic sketch of Cowper; and, at the end, a group of pretty, pastoral designs from Blake's own hand. The subjects are that familiar household toy, 'the weather house,' described in The Task; and Cowper's tame hares. These vignettes are executed in a light, delicate style, very unusual with Blake.
In January, 1802, Cowper's cousin paid the promised visit, and brought with him the wished-for anecdotes of the poet's last days. Hayley, with friendly zeal, had urged Blake to attempt the only lucrative walk of art in those days—portraiture; and during Johnson's stay, the artist executed a miniature of him, which Hayley mentions as particularly successful. It would be an interesting one to see, for its painter's sake, and for the subject—the faithful kinsman and attendant with whom The Letters of Cowper have put on friendly terms all lovers of that loveable poet, the fine-witted, heaven-stricken man.
Before the second winter was over, unmistakable signs began to appear that neither the smiling cottage nor the friendly Hayley were all they had at first seemed. The dampness of a house placed upon the earth without cellarage, on a low shore too, between the Downs and the sea, seriously affected Blake's health for a time, and caused his Kate severe ague and rheumatism, which lasted even after her return to the dryness of London.
And no less baneful to the inner life was constant intercourse with the well-meaning literary squire. It was not possible for the ardent and exalted nature of Blake, to whom poetry and design were the highest expression of religion, to breathe freely in an atmosphere of elegant trivialities and
