can utter fully." Rude as they are, their force is extraordinary; few things can be more truly magical than the glimpse of distant sea in the second of those engraved by Gilchrist. At the same time they are not in the least Virgilian, and in this respect form an instructive contrast with the exquisite though unfinished Virgilian illustrations of Samuel Palmer. Palmer, though putting in a cypress now and then, as a tribute to couleur locale, provides Virgil substantially with the same style of illustration as he had been producing all his life for other ends, and yet this seems as appropriate to the text as Blake's is discrepant. It is interesting to speculate what effect an Italian residence of two or three years, such as Palmer had enjoyed, would have produced upon Blake beyond the inevitable one of dissipating his monstrous delusions about Italian artists. He would probably have gone chiefly with the view of studying Michael Angelo, but we suspect that the influences of Italian landscape would in the long run have proved fully as potent.
In 1821 Blake removed from South Molton Street to Fountain Court, Strand, near the Savoy, where he occupied two rooms on the first floor. The reason may have been that the house was kept by a brother-in-law of Mrs. Blake's named Baines, the only trace we have of any connection with his wife's family. Economy too may have had its influence; his means were very low, not yet improved by the donation of £25 he received from the Academy next year, or his arrangement with Linnell in the year following. At the worst, however, the rooms were always clean and neat, thanks to Mrs. Blake's industry and devotion; and Blake's manner always had the simplicity and dignity of a gentleman. That his circumstances improved was almost entirely the doing of Linnell, who not only provided for his wants by commissions, but made him what his genius had never made him, the patriarch of a band of admirers, almost disciples. Coming frequently to visit Linnell at Hampstead, Blake fell in with a group of young men who resorted thither, four of whom at least—Samuel Palmer, Edward Calvert, George Richmond, and F. O. Finch—became artists of great distinction. One characteristic these young men had in common: they were as far as possible from the theory of art for art's sake, but only valued art as the outward and visible sign of the inward and spiritual grace of consecration to the Power behind Nature. The biographies of Palmer and Calvert disclose the priestlike
