The depth and grandeur of tone obtained in "Hecate" are unique, and, united to the sombre majesty of the composition, form a most satisfying work to eye and intellect. Looking closely at the technique, the colour is seen to be collected in little pin-head dots all over the ground, in a manner that clearly points to its having been impressed while yet wet, with some carefully roughened surface, but just what means were used to obtain this effect must always remain a mystery. [Illustration: THE FLIGHT INTO EGYPT Tempera painting. Reproduced by kind permission of Mr. W. Graham Robertson] The finest example of the process is, however, "Lamech and his two Wives," in which the tragic nature of the subject is deepened by the colour-printing, here most successfully handled. Pure water-colour, sometimes delicately outlined with the pen, was Blake's fourth mode of working, and the exhibition had a goodly array of this class of work. We have mentioned "The River of Life," perhaps the most beautiful example extant, but several others, noticeably "Oberon, Titania, and Puck with fairies dancing" and "The Wise and Foolish Virgins," were very lovely. The first represents Blake in a rare mood, his mysticism in abeyance, and his temper one of aesthetic abandon. We are so little accustomed to think of him as an artist of varied and wide appeal, that this rhythmic dance, which acted on the spectator like music, surprised. It has in it the delirious joy of elemental things. The fairies' delicate muslins are fetched out like mist in the greenwood; butterflies' wings and petals of flower adorn their dainty heads. Puck has wings on the back of his hands (a new and delightful idea this!), and the rapid graceful movements of the dance do not seem to be arrested by their embodiment in a painting. Though this phase of Blake is distinctly novel, even strange to us, it is entirely delightful. There is no stress, no repelling yet attractive mystery as in the "Hecate" here. It is just pure "joie de vivre."