would be. It cannot possibly be all handwork, and yet I can conceive no mechanical process, short of photography, which is really capable of explaining it. It is no less than a complete mystery, well worthy of any amount of inquiry, if a clue could only be found from which to commence. In nearly all Blake's works of this solidly painted kind, it is greatly to be lamented that the harmony of tints is continually impaired by the blackening of the bad white pigment, and perhaps red lead also, which has been used, — an injury which must probably go still further in course of time.
Of the process by which the designs last alluded to were produced, the following explanation has been furnished by Mr. Tatham. It is interesting, and I have no doubt correct as regards the groundwork, but certainly it quite falls short of accounting for the perplexing intricacy of such portions as the rock-background of the Newton. 'Blake, when he wanted to make his prints in oil' (writes my informant), 'took a common thick millboard and drew, in some strong ink or colour, his design upon it strong and thick. He then painted upon that in such oil colours and in such a state of fusion that they would blur well. He painted roughly and quickly, so that no colour would have time to dry. He then took a print of that on paper, and this impression he coloured up in water-colours, repainting his outline on the mill-board when he wanted to take another print. This plan he had recourse to, because he could vary slightly each impression; and each having a sort of accidental look, he could branch out so as to make each one different. The accidental look they had was very enticing.' Objections might be raised to this account as to the apparent impracticability of painting in water colours over oil; but I do not believe it would be found so, if the oil colour were merely stamped, as described, and left to dry thoroughly into the paper.
In concluding a biography which has for its subject a life
