Blake remained a Flaxmanite to the day of his death. Flaxman as a sculptor and draughtsman stood, as everybody knows, for classicism at its clearest and coldest. He would admit no line into a modern picture that might not have been on a Greek bas-relief. Even fore-*shortening and perspective he avoided as if there were something grotesque about them—as, indeed, there is. Nothing can be funnier, properly considered, than the fact that one's own father is a pigmy if he stands far enough off. Perspective really is the comic element in things. Flaxman vaguely felt this; Flaxman shrank from the almost insolent fore-*shortenings of Rubens or Veronese as he would have shrank from the gigantic boots in the foreground of an amateur photograph. For him high art was flat art in painting or drawing, everything could be done by pure line upon a single plane. Flaxman is probably best known to the existing public by his illustrations in line to Pope's "Homer,"—which have certainly copied most exquisitely the austere limitations of Greek vases and reliefs. Anger may be uttered by the lifted arm or sorrow by the sunken head, but the faces of all those gods
