First let us look at the water-colour numbered 43, entitled "David delivered out of Deep Waters." It has qualities of handling akin to the "River of Life," belonging to Captain Butts, and the conception is specially Blakean. David, with his arms bound round with cords, floats symbolically on dark waters. Above, seven cherubim, with wings interlacing like the shields of a phalanx, swoop down in rhythmic ranks, with Christ in their centre. The remarkable thing about these cherubim is that two have the faces of children, two those of old white-bearded men, two those of mature manhood, while the centre one alone, immediately below Christ, has the face of a beautiful youth. The figure and attitude of the Saviour have a noble grace, but the face is weak and ineffectual, as is usual with Blake when treating the divine lineaments. The effect of the picture--with those strong, ordered wings in ranks, recalling the banners borne in some rich church procession--is one of curious symmetry, of almost heraldic composition. A delicate and remote strangeness of imagination makes itself felt in every line, every tint; and the range of tone is noticeably peculiar, the deepest and highest parts of the scale being used with great effect, while no recourse has been had to the intermediate gamut, so that there is no full body of colour present at all. The nearest approach to it is the quivering pale golden light that is diffused around the figure of Christ. [Illustration: DAVID, DELIVERED OUT OF MANY WATERS Water-colour. In National Gallery, undated] No. 1164, "The Procession from Calvary," is a tempera picture reminiscent in quality of colour of the _quattrocento_ Italian masters. Stiff, composed and straight is the body of Jesus laid on the bier. Three pairs of bearers support the holy burden on their shoulders. The Virgin alone, and two other women side by side, follow the _cortege_, while in the distance Calvary, with its three crosses, may be seen; and Jerusalem is represented by a group of buildings defiantly Gothic in character. The bearers and the women moving across the foreground so majestically, so quietly, might be the somewhat stiff rendering of an idea, inspired by the procession in a basrelief on some old Greek or Roman sarcophagus, such as Mantegna or Andrea del Castagno worked out on canvas.