actual rendering of scenes of awe and horror. Far inferior artists have produced more thrilling effects of this sort with much simpler means. It would be wrong to say that his visions appear unreal, but they do appear at a remove from reality, a world seen through a glass darkly, its phantasm rather than its portrait. This, however, only applies to the inventions of Blake's own brain, which, if we may judge by the moderate development of the back head in Deville's cast, lacked the force of the animal propensities requisite for the portrayal of cruelty and horror. He could render the conceptions of others with startling force—witness the impressive delineation reproduced by us of the Architect of the Universe at work with his compasses; and the simple pencil outline of Nebuchadnezzar in Mr. Rossetti's book, engraved by Gilchrist, where the human quadruped creeps away with an expression of overwhelming and horror-stricken dismay. This power of interpretation was to find yet finer expression in the illustration of the Book of Job.
Blake's technical defects are indicated by Messrs. Ellis and Yeats as consisting mainly in imperfect treatment of the human form from want of anatomical knowledge. He had always disliked that close study of the life which alone could have made him an able draughtsman; it "obliterated" him, he said, and had resolved to quarrel with almost all the artists from whom he might have learned. It must be remembered in his excuse that consummate colouring and consummate draughtsmanship are seldom found associated. Those who may feel disappointed with the reproductions of Blake's mystical designs must also remember that these are but shadows of the artist's thought, which needed for its full effect the application of colour by his own hand. "Much," says Dante Rossetti, "which seems unaccountably rugged and incomplete is softened by the sweet, liquid, rainbow tints of the coloured copies into mysterious brilliancy." The effect thus obtained may perhaps be best shown by Mr. Gilchrist's eloquent description of the illuminated drawings in Lord Crewe's copy of America. "Turning over the leaves, it is sometimes like an increase of daylight in the retina, so fair and open is the effect of particular pages. The skies of sapphire, or gold, rayed with hues of sunset, against which stand out leaf or blossom, or pendent branch, gay with bright-plumaged birds; the strips of emerald sward below, gemmed with flower and lizard, and enamelled
