impulse went out of Swedenborg when he turned from vision. It was inseparable from this primitive faculty, but was not a part of his daily bread, whereas Blake carried it to a passion and made it the foundation of his thought. Blake was put into a rage by all painting where detail is generalized away, and complained that Englishmen after the French Revolution became as like one another as the dots and lozenges in the mechanical engraving of his time, and he hated histories that gave us reasoning and deduction in place of the events, and St. Paul's Cathedral because it came from a mathematical mind, and told Crabb Robinson that he preferred to any others a happy, thoughtless person. Unlike Swedenborg he believed that the antiquities of all peoples were as sacred as those of the Jews, and so rejecting authority and claiming that the same law for the lion and the ox was oppression, he could believe "all that lives is holy," and say that a man if he but cultivated the power of vision would see the truth in a way suited "to his imaginative energy," and with only so much resemblance to the way it showed in for other men, as there is between different human forms. Born when Swedenborg was a new excitement, growing up with a Swedenborgian brother, who annoyed him "with bread and cheese advice," and having, it may be, for nearest friend the Swedenborgian Flaxman with whom he would presently quarrel, he answered the just translated _Heaven and Hell_ with the paradoxical violence of _The Marriage of Heaven and Hell_. Swedenborg was but "the linen clothes folded up" or the angel sitting by the tomb, after Christ, the human imagination, had arisen. His own memory being full of images from painting and from poetry he discovered more profound "correspondences," yet always in his boys and girls walking or dancing on smooth grass and in golden light, as in pastoral scenes cut upon wood or copper by his disciples Palmer and Calvert one notices the peaceful Swedenborgian heaven. We come there, however, by no obedience but by the energy that "is eternal delight," for "the treasures of heaven are not negations of passion but realities of intellect from which the passions emanate uncurbed in their eternal glory." He would have us talk no more "of the good man and the bad," but only of "the wise man and the foolish," and he cries, "Go put off holiness and put on intellect."