68.

69.

1805.-War. [From Mr. Butts.]

Mentioned in the account, p. 256. Vol. II.

1806.- The Repose of the Holy Family in Egypt. [Mr. Monckton Milnes, M.P.] Water-colour, only half-painted.

The fugitives are reposing under a palm-tree; their donkey drinks of the stream; an animal shaggy and bristly enough to illustrate the doctrine of correspondences,' as though he represented so much pabulum of thistles and stubble. The varied landscape background is the most pleasurable feature of this water-colour, a poor one in surface handling.

70. 1806.-Design for the Dedication to Blair's 'Grave.' [British Museum.]

71.

Executed with most special care and completeness in pale semi-neutral tints; a very beautiful work. The subject is the deliverance of the Human Soul from Death, and the Ascension of the Just. Above, are two angels, one sheathing the sword, another holding the unequally-poised balance and a sealed roll; a third descends with a key to unlock the fetters of the grave. A mother with her adolescent and infant family rises to the left; a man and children to the right, their chains riven, clasp their upraised hands in thankfulness for the great deliverance. Between the upper angels a space is left for the inscription. See pp. 205, 207, 217. Vol. I.

1806.-Satan watching the Endearments of Adam and Eve. [Mr. Strange, from Mr. Butts.]

Essentially the same as No. 75 d, but with differences of detail; the figure of Satan, for instance, being turned towards the left, instead of the right; the flesh here is almost colourless, and the feeling on the whole more softly sensuous. The serpent, with a comb of fire, 'in his own volumes intervolved,' shuffles away from the feet of the First Parents. Very beautifully drawn, rich in form, and charming in impression.

1807. The Vision of Queen Katharine-Shakespeare's Henry VIII.' [Mr. Dilke, from Mr. Butts.] Slight tint of water-colour.

Treated quite from the ideal, not the historic or dramatic point of view; and a leading example of Blake's accurate manner. Katharine, crowned and young-looking, with light hair, makes in her sleep signs of rejoicing, and holdeth up her hands to heaven,' or to the Angels, of whom a considerable number are floating about in all parts of the composition, with wreaths, harps, &c. Their small size gives them rather a fairy-like than a strictly angelic character. The attendants, Griffith and Patience, both dozing, are an ancient bearded man with a book, and a youthful woman. See the following number, for which this appears to be a preparation. It was exhibited in Manchester in 1857. 73. 1807.-The same. [Mr. Strange.]

75.

This is the work painted for Sir Thomas Lawrence (see p. 357, Vol. I.), and is very elaborately executed, with a great glory of light shooting through ragged drifts of darkness. The purity of colour is somewhat affected by the strong effort to get relief and play of light. Katharine is finer here than in the preceding. 1807-8.-The Last Judgment. [Lord Leconfield.] Tempera. See pp. 212, &c. Vol. I.

A small picture highly finished in drawing, but slight in colour, the white predominating save on the side of the condemned. Scarcely equal to the impression of the work derivable from Blake's description; though some of the figures of the blessed are of extreme loveliness.

1808. *NINE DESIGNS from 'Paradise Lost.'
Mr. Butts.]

[Mr. Strange, from

This is a marvellously fine series: Blake is here king of all his powers of design, draughtsmanship, conception, spiritual meaning and impression. The colour is throughout good, often splendid; the execution accurate and sustained; the style of form grand, sweeping, and tense. This series would of itself suffice to rank Blake among the heroes of the art.

(a) *The Casting of the Rebel Angels into Hell. Book VI.

A great example of energetic design; the devils hurled down with huge velocity, and a Michael-Angelo-like power of action. The Son of God, in a dise of pale crimson flame, draws His bow against them, the shaft of the arrow being imagined, not represented. The central demon is Satan; next him falls one with a mapped-out forehead, the representative of apostate intellect, presumably Beelzebub; the flames of hell reach already above them. The angels around Christ are not equal to the rest of the subject.

(b) *The Creation of Eve. Book VIII.

Very spiritual and sculpturesque, without much colour. Adam lies at full length on a natural carpet of leaves, a sort of invented foliaceous form, the like of which, modified according to the purpose, appears in other designs. At the bidding of the Son of God, as Creator, Eve floats up from Adam's side; the crescent moon above her in a deep dusky sky. The evening flowers are shut; the trees seem bound in slumber.

6

(c) Father, Thy word is passed, Man shall find grace.' Book III. The Son stands as intercessor before God the Father; four youthful angels hover with downward sway, bearing crowns. The whole of the celestial group is rather in grisaille than in colour. Satan, armed with shield and spear, floats below, subjugated, but unextinguished in rebellion.

(d) *Satan watching the Endearments of Adam and Eve.

Book IV.

Very grand in the lines of the seated figures of Adam and Eve. Satan, above the floral bower which over-arches them, holds the serpent-an amazingly subtle, prismatic-hued serpent-which seems in horrid council with him, draining his vitals. Satan has a languid, almost sentimental' air, yet very terrible. The sun sets to the right, while the stars and moon are in the opposite space of nightly sky. (See No. 71.)

(e) *Satan, as a Toad, haunting the Dreams of Eve. Book IV.

The natural couch upon which Adam and Eve lie (see b above) is curious; a mass of rounded forms, simulating shut roses, but unfortunately solid-looking, like peaches. Two angels float above, with small javelins.

(ƒ) *Raphael and Adam in conversation, Eve ministering to them. Book V.

A most beautiful Eve (as frequently the case with Blake), exactly realizing the high ideal 'naked and not ashamed.' Raphael, with a grand action of the upraised arms, and his dispread wings meeting at the tips in a noble ogee curve, is cautioning Adam against his impending danger; he listens perturbed. The natural chairs, table, and cups, formed by the vegetation, are ingeniously managed. In the distance is an extensive landscape, with numerous animals; the Tree of Life at the summit, with fruit glowing like illumination-lamps, or the jewel-fruit of Aladdin; the serpent is coiled up its trunk, lying fearfully in wait.

(g) *Eve eating the forbidden Fruit. Book IX.

Wonderful exceedingly. Eve, again most beautiful, eats out of the jaws of the serpent the fruit which he presents to her. Other fruits hang from the branches, glowing (as in the preceding design) with ruddy luminousness. The trunk of the tree is cramped with huge parasitic thorn-stems, which reach down along the ground, as it were the roots of the tree itself. Ghastly forked lightning plays round Eve, lurid and menacing. At the other (left) side of the tree stands Adam, as in a distinct plane of the composition. He is yet guiltless and unconscious of the evil; round him, too, play the forked lightnings, chain-like, but less angry in colour. The storm-sky blackens as the doom culminates.

76.

77.

78.

:

(h) * Michael foretelling the Crucifixion to Adam :-
'But to the cross He nails thy enemies,-

The law that is against thee and the sins

Of all mankind, with Him there crucified.'-Book XII.

Christ on the cross is visibly brought before Adam, who stands adoring --very fine in form. At the foot of the cross lie two human figures, one of which is possibly the Law,' and some bestial heads symbolizing the Sins' or Vices, it may be presumed. The serpent is twined there also, his crest set beneath the foot of Christ. At the bottom of the composition Eve is sleeping; a beautiful, grand, rich form. The Archangel, in this and the succeeding design, is unfortunately a failure; a kind of over-handsome classic warrior. Blake has tried hard to hit the mark, but somehow the inspiration would not come. (i) *Adam and Eve taken by Michael out of Eden.—Book XII.

Adam's first step out of Eden stumbles upon a thorn-admirably thought of the thistle is beside it. Both he and Eve look with scared revulsion upon the serpent, wondrously treacherous, crawling and accursed, yet with malice gratified. Above this group are seen four red-bearded angels, represented as of the middle age of man, upon blood-red horses, and with flames; while a huge wreath of crimson fire, like a funereal pall wind-shaken, flaps over the head of Michael.

1808.-Jacob's Ladder. [Mr. Milnes, from Mr. Butts.] See pp. 216, Vol. I., and 141, Vol. II.

1808. The Angels hovering over the Body of Jesus in the Sepulchre. See pp. 216, Vol. I., and 141, Vol. II.

1808. The Canterbury Pilgrimage, from Chaucer-Sir Jeffrey Chaucer and the nine-and-twenty Pilgrims on their Journey to Canterbury.' [Mr. Stirling, from Mr. Butts.] Tempera. See pp. 225, Vol. I., and 122-132, Vol. II.

Sent to the International Exhibition. The colour of this fine work appears to have darkened, making the general impression of the scene a rather sombre one. 79. 1809 or earlier.-The Spiritual Form of Nelson guiding Leviathan, in whose wreathings are enfolded the Nations of the Earth. Tempera. See p. 120. Vol. II.

The date given is conjectural ; 1809 is the latest possible, that being the date of the "Descriptive Catalogue.'

80. 1809 or earlier.-The Ancient Britons-The Three who escaped from King Arthur's last Battle. Tempera. See pp. 228, Vol. I., and 133-137, Vol. II.

81. 1809 or earlier. The Goats (browsing the vine-leaves wherein some savage girls had dressed themselves). Tempera. (?) See p. 138, Vol. II., and No. 47.

82. 1809 or earlier.-The Spiritual Preceptor, from Swedenborg. Tempera. (?) See p. 138, Vol. II., and No. 47.

83.

1809 or earlier.-The Crucifixion-The Soldiers casting Lots for the Garments. [Mr. Milnes, from Mr. Butts.]

Peculiarly treated-the crucified Saviour, with the two thieves, being seen from behind, and the ground which lies before the cross appearing beyond. Very poetic, pictorial, and solemn in darkling effect. The soldiers form the foreground group, and have plenty of character and varied action. See p. 141, Vol. II.

84. 1809 or earlier.—The Brahmins-Mr. Wilkin translating the Geeta. See p. 141, Vol. II., where this and the three following are stated to be 'drawings:' it seems clear that 'water-colour drawings' is meant.

85. 1809 or earlier.-The Body of Abel found by Adam and Eve; Cain, who was about to bury it, fleeing from the Face of his Parents. [Capt. Butts.] See p. 141. Vol. II.

Full of grand horror and vigorous action. slaughtered son.

Adam and Eve wail over their

86. 1809. The Babylonian Woman on the Seven-headed Beast. [British Museum.]

87.

Her face is of a heavy type (something like that of the Kemble family), her head crowned with a mural diadem. The flesh of the Beast is red, with a smoky tinge; his heads and figure human, though of a Calibanic cast. The woman holds in her right hand a golden serpent-handled cup, whence flows forth a wreath of figures, also bearing cups and trumpets. They swoop down towards small foreground figures of knights fighting. At them points the woman's left hand, as if to claim them as her own; men drunk with her cup of ambition, animosity, and the pride of life. Complete in execution and colour, though the latter partakes rather of the character of 'tinting.' A valuable example of Blake, yet with a less daringly original aspect than might have been expected in such a subject. See p. 242. Vol. I.

1809.-Portrait of Mrs. Butts. [Capt. Butts.] Miniature.

The creamy flesh, and the general knack of execution, assimilate closely enough to the style of most miniature-painters.

88. Circa 1810.-Portrait of Mr. Butts, Jun. [Capt. Butts.] Miniature. The son of the Mr. Butts with whom Blake was chiefly connected. There is an elegant quality in the miniature, which conforms fairly to the requirements of portraiture. Some touches of gilt appear in the hair. 1811.-* The Judgment of Paris. [Capt. Butts.] Colour-printed.

89.

Discord, triple-headed, is flying off; Mercury floating on the air; Cupid exults as he handles his arrows; Paris, languidly seated, seems almost to shrink from the decision which he is in the act of making. His crouched dog has Пapis inscribed on its collar. The three goddesses, as well as the other figures, are splendid in form; and the whole design belongs to the highest order of Blake's work, both in spirit and in treatment.

90. Circa 1820 to 1827.-*The Last Judgment. Tempera. See pp. 214, 358. Vol. I.

91.

92.

93.

94.

1822.

*

The Creation of Eve. [Mr. Linnell.] See No. 75 b.

This design, and the two following, are duplicates, but with some difference in tone of colour, &c., of the three in Mr. Strange's noble series from 'Paradise Lost,' on the whole carried a trifle less far.

1822. Satan watching the Endearments of Adam and Eve. [Mr. Linnell.] See No. 75 d.

1822. Michael foretelling the Crucifixion to Adam. [Mr. Linnell.] See No. 75 h.

Great in effect of darting light and darkness.

*

1822. The Wise and Foolish Virgins. [Mr. Linnell.]

Very noble the composition admirable, both in an artistic sense and in expression of the subject-the effect dark and nightlike. The Wise Virgins are in a serried upright group, departing to the left; the Foolish Virgins distracted and scattered, some upon their knees. Above them an angel, floating in the sky in a horizontal position, blows his trumpet for the coming of the Bridegroom.

95. 1822.-The same.

A smaller version of the same composition, executed for Sir Thomas Lawrence. See p. 357. Vol. I.

96. 1822.-The Rich Man in Purgatory.

Also done for Sir T. Lawrence.

'Purgatory' appears to be an euphuism for

'Hell,' and the subject that of 'Dives and Lazarus.'

97. Circa 1822.-A COMPLETE SET of Water-colour Designs for the Job Engravings. [Mr. Milnes, from Mr. Butts.] See pp. 282-3. Vol. I.

These are much larger than the engravings, and give only the central subjects, without the borderings or mottoes. They are generally pale in colour, with a less full and concentrated effect than the engravings, and by no means equal to them in power and splendid decorative treatment of the light and shade. On the other hand, they are often completer and naturally freer in expression, and do not exhibit a certain tendency, noticeable generally in the engravings, to over-sturdiness of build and physiognomy in the figures. (See also the photolithographs.) As distinguished from the engravings, the following are the most noticeable of the water-colours :--

(a) Thus did Job continually.'

On the sun is written: Our Father which art in heaven, hallowed be Thy name: Thy will be.'

(b) The Destruction of Job's Sons and Daughters.

The figure of Satan much finer in the water-colour; and the whole composition of the victims, with their upraised arms, appealing and struggling, more impressive.

(c) 'Then went Satan forth from the presence of the Lord.'

Exhibits some considerable difference from the engraving in the arrangement, though not in the general conception, of the heavenly group.

(d) The Arrival of Job's Friends.

:

As a general rule, the friends are less individualized the one from the other in the water-colours. Here the traces of the sun-rays are less distinct the hills are finely tinged in purple and green. Job's wife has the aspect of old age; an aspect less discernible in several others of the designs and engravings, especially in those where she is free from sorrow.

The serpent is gorgeous in prismatic tints—continually a strong point with Blake.

(g) When the morning stars sang together.'

The angelic group at the summit consists of only four figures, fully brought into the composition. In the engraving, the effect of sublimity and multitude is centupled by adding the upreared arms of two other angels to right and left, passing out of the composition. This appears to have been an after-thought during the progress of the engraving itself, as two thin wreaths of cloud, which close-in and finish off' the group in the design, appear also in the engraving.

(h) Leviathan and Behemoth.

Splendidly tinted, and, on the whole, quite as fine in the design as in the engraving. Behemoth is longer-muzzled in the former.