Turning to the other original single engravings of Blake in the Print Room, we find several of interest. There is that early one, designed and engraved in 1780, which has been called "Glad Day," and is the expression of a mood oftener felt in Blake's early manhood than in the ensuing years of chafing complexity and multitudinous emotions. I have wondered whether it be not the pictorial embodiment of the vision which he saw of the "Spiritual Sun on Primrose Hill," described by him to Crabb Robinson. Among the original engravings here may be seen the broadsheet of "Little Tom the Sailor," executed by Blake for Hayley while at Felpham in 1800, for a charitable purpose. Hayley's verses and Blake's designs were bitten in with stopping-out varnish on the pewter plate of the original from which the prints are taken. In the designs setting out the misfortunes of a poor widow and the heroism of her little son he has given us one theme of natural scenery--a winding path, a little wood surmounted by bare folded downs--testifying to the invasion which the obvious beauty of Felpham had made on his artistic consciousness; while the other illustration represents the tragic moment when little Tom on the wreck is about to be drowned; over the trough of deep sea the spiritual form of his father appears ready to receive and embrace his soul. Mrs. Blake's hand unfortunately has coloured the Print Room copy. And now let us turn to the pen-and-ink etchings to Dante, designed and executed for Mr. Linnell between the years 1824 and 1827, the year of Blake's death. There are seven of them, wrought by the pen, which had become so deliberate, careful and delicate in execution during these last years of his life. Let us linger over two of them for a moment. Among the many pictures of Paolo and Francesca that exist, was there ever seen anything like this of Blake's imagining? You may prefer others--Ary Scheffer's, Dante Rossetti's, or Mr. G. F. Watts'--you may object that this one has not grappled with the passionate love-motive of the story, that it has omitted the note of yearning, of beloved pain, with which Dante's conception is fraught. The austerity of a mind which theorized much on the subject of love--the love of man and woman--but knew actually very little of its vehemence, its trouble, and its languorous sweetness, forbade Blake to focus in the figures of Paolo and Francesca the ideal tragedy of those "whom love bereav'd of life." The scene as a whole--that second circle of the Inferno, in which The stormy blast of hell With restless fury drives the spirits on, Whirl'd round and dashed amain With sore annoy--