peculiarities of our artist are still more clearly seen. His greatest enjoyment consists in giving bodily form to spiritual beings. Thus in the 'Grave' he has represented the re-union of soul and body, and to both he has given equal clearness of form and outline. In one of his best drawings, the 'Death of the Strong Wicked Man,' the body lies in the death agony, and a broken vessel, whose contents are escaping, indicates the moment of death, while the soul, veiled in flame, rises from the pillow. The soul is a copy of the body, yet in altered guise, and flies from the window with a well-rendered expression of horror. In other engravings the soul appears hovering over the body, which it leaves unwillingly; in others we have the Re-union of both at the Resurrection and so forth. These are about the most offensive of his inventions.
In his Catalogue we find still further vindication of the reproaches brought against his earlier work. 'Shall painting be confined to the sordid drudgery of facsimile representations of merely mortal and perishing substances, and not be, as poetry and music are, elevated into its own proper sphere of invention and visionary conception?' He then alleges that the statues of the Greek gods are so many bodily representations of spiritual beings. 'A Spirit and a Vision are not, as the modern philosophy asserts, a cloudy vapour or a nothing; they are organised and minutely articulated beyond all that the mortal and perishing nature can produce. Spirits are organised men.'
In a certain sense every imaginative artist must
