colour and method in painting, and that revival of which so many signs have, in late years, been apparent. At present, much of what he did is doubtless in danger of being lost altogether. Specimens from his hand existed in the late Northwick collection, now dispersed; and some years since I saw a most beautiful work by him—a female head or half figure—among the pictures at Stafford House. But Holst's sketches and designs on paper (a legion past numbering) were, for the most part, more expressive of his full powers than his pictures, which were too often merely sketches enlarged without reference to nature. Of these, a very extensive collection was possessed by the late Serjeant Ralph Thomas. What has become of them? Among Holst's pictures, the best are nearly always those partaking of the fantastic or supernatural, which, however dubious a ground to take in art, was the true bent of his genius. A notable instance of his comparative weakness in subjects of pure dignity may be found in what has been pronounced his best work, and was probably about the most 'successful' at the time of its production; that is, the Raising of Jaïrus's Daughter, which was once in the gallery at the Pantheon in Oxford Street. Probably the fullest account of Hoist is to be found in the sufficiently brief notice of him which appeared in the Art Journal (or Art Union, as then called).
Of any affinity in spirit to Blake which might be found existing in the works of some living artists, it is not necessary to speak here; yet allusion should be made to one still alive and honoured in other ways, who early in life produced a series of Biblical designs seldom equalled for imaginative impression, and perhaps more decidedly like Blake's works, though quite free from plagiarism, than anything else that could be cited. I allude to One Hundred Copper-plate Engravings from original drawings by Isaac Taylor, junior, calculated to ornament all quarto and octavo editions of the Bible. London: Allan Bell & Co., Warwick Square. 1834.
