Then there is a highly-finished water-colour of an allegory--numbered 44--to be studied. It is soon evident to the spectator that the elaborate composition owns as central motive the Atonement, with all the symbolic correspondences which in the scriptures predicted it. At the highest point of the picture is a medallion wherein the Almighty is represented. Dull flames flicker and smoke around, while on them is inscribed in very small writing the significant words "God out of Christ is a consuming fire." This, as we know, was a much-insisted-on doctrine of Blake's, for he seems to have denied at times the responsible fatherhood of God; and never did he share the respectable conception of Him, prevalent at that day even more than in this, which Tennyson so aptly defined as "an immeasurable clergyman." Below the medallion are little scenes displaying the Death of Abel, the Flood, the Sacrifice of Isaac, the Transfiguration, and, finally, the symbolic Vision of the Holy Grail. All these separate but related motives are woven together, with subsidiary scenes to right and left, into one intricate and most beautiful scheme. The low tones of the composition, the dim, delicate tinting, bring the varied and multitudinous parts into a harmony of effect that is very delightful, while the spiritual and intellectual material with which it is characteristically builded up, send our thoughts voyaging out like birds over the sea of religious mysticism. I have left the most important picture to be dealt with last. The tempera picture, numbered 1110, was painted as the companion to "Nelson and Leviathan"--a sketch for which is in the British Museum, it will be remembered--and was shown for the first time at Blake's own exhibition in 1809. In his Descriptive Catalogue the title ran as follows: "The spiritual form of Pitt guiding Behemoth; he is that Angel, who, pleased to perform the Almighty's orders, rides on the whirlwind directing the storms of war; he is ordering the Reaper to reap the vine of the earth, and the Ploughman to plough up the cities and towers." At first sight the figure of a beautiful young man is the one thing that stands out clearly from the dim splendour and bewildering detail of the picture. This noble form, instinct with power and authority, represents the spiritual body of Pitt. A gleaming halo surrounds his head, and the background is massed with seething indistinct figures.