tumult. These were not favourable days for designing, or even quiet engraving.
Since his twentieth year, Blake's energies had been 'wholly directed to the attainment of excellence in his profession' as artist: too much so to admit of leisure or perhaps inclination for poetry. Engrossing enough was the indispensable effort to master the difficulties of Design, with pencil or in watercolours. With the still tougher mechanical difficulties of oil-painting he never fairly grappled; but confined himself to water-colours and tempera (on canvas), with, in after years a curious modification of the latter—which he daringly christened 'fresco.' Original invention now claimed more than all his leisure. His working-hours during the years 1780 to 1782 were occupied by various book-plates for the publications already named. These voluminous, well-illustrated serials are not infrequently stumbled on by the Collector at the second-hand booksellers. Very few are to be found in our Museum Library, professedly miscellaneous as that collection is. In the Print Room exists a fine series of engravings after Stothard; which, however, being undated, affords little help to those wishing to learn something about the engravers of them.
These were days of Courtship, too. And the course of Blake's love did not open smoothly. 'A lively little girl' in his own, or perhaps a humbler station, the object of his first sighs readily allowed him, as girls in a humbler class will, meaning neither marriage nor harm, to 'keep company' with her; to pay his court, take mutual walks, and be as lovesick as he chose; but nowise encouraged the idea of a wedding. In addition to the pangs of fruitless love, attacks of jealousy had stoically to be borne. When he complained that the favour of her company in a stroll had been extended to another admirer, 'Are you a fool' was the brusque reply—with a scornful glance. 'That cured me of jealousy,' Blake used naïvely to relate. One evening at a friend's house he was bemoaning in a corner his love-crosses. His
