Page:Nollekens and His Times, Volume 2.djvu/487

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he had been extremely kind in early days, had been employed to paint a picture, not only of the same subject, but in some instances similar to the fresco sketch which he had shown to Mr. Cromek. The picture painted by Stothard became the property of Mr. Cromek, who published proposals for an engraving from it, naming Bromley as the engraver to be employed. However, in a short time, that artist's name was withdrawn, and Schiavonetti's substituted, who lived only to complete the etching; the plate being finished afterwards by at least three different hands. Blake, highly indignant at this treatment, immediately set to work, and proposed an engraving from his fresco picture, which he publicly exhibited in his brother James's shop-window, at the corner of Broad-street, accompanied with an address to the public, stating what he considered to be improper conduct.

So much on the side of Blake.[1] On the

  1. In 1809, Blake exhibited sixteen poetical and historical inventions, in his brother's first-floor in Broad-street; eleven pictures in fresco, professed to be painted according to the ancient method, and seven drawings, of which an explanatory catalogue was published, and is perhaps the most curious of its kind ever written. At page 7, the description of his fresco-painting of Geoffrey Chaucer's Pilgrimage commences.