is manifest in the work of the little group of landscape-painters who gathered about him in his old age and delighted to call him master. The member of the group, whom I have already so often quoted, has alone praised worthily these illustrations to the first _eclogue_: ‘There is in all such a misty and dreamy glimmer as penetrates and kindles the inmost soul and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all this wonderful artist’s work, the drawing aside of the fleshly curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of the rest which remains to the people of God.’ Now, too, he did the great series, the crowning work of his life, the illustrations to _The Book of Job_ and the illustrations to _The Divine Comedy_. Hitherto he had protested against the mechanical ‘dots and lozenges’ and ‘blots and blurs’ of Woollett and Strange, but had himself used both ‘dot and lozenge,’ ‘blot and blur,’ though always in subordination ‘to a firm and determinate outline’; but in Marc Antonio, certain of whose engravings he was shown by Linnell, he found a style full of delicate lines, a style where all was living and energetic, strong and subtle. And almost his last words, a letter written upon his death-bed, attack the ‘dots and lozenges’ with even more than usually quaint symbolism, and praise expressive lines. ‘I know that the majority of Englishmen are bound by the indefinite ... a line is a line in its minutest particulars, straight or crooked. It is itself not intermeasurable by anything else ... but since the French Revolution’—since the reign of reason began, that is—‘Englishmen are all intermeasurable with one another, certainly a happy state of agreement in which I do not agree.’ The Dante series occupied the last years of his life; even when too weak to get out of bed he worked on, propped up with the great drawing-book before him. He sketched a hundred designs, but left all incomplete, some very greatly so, and partly engraved seven plates, of which the ‘Francesca and Paolo’ is the most finished. It is not, I think, inferior to any but the finest in the Job, if indeed to them, and shows in its perfection Blake’s mastery over elemental things, the swirl in which the lost spirits are hurried, ‘a watery flame’ he would have called it, the haunted waters and the huddling shapes. In the illustrations of Purgatory there is a serene beauty, and one finds his Dante and Virgil climbing among the rough rocks under a cloudy sun, and in their sleep upon the smooth steps towards the summit, a placid, marmoreal, tender, starry rapture.