In 1792 died the great leader of English art, Sir Joshua Reynolds. His work, concerned as it was with the exquisite graces of this passing world, had nothing to say to Blake, who regarded it in the light of his own artistic standpoint, with positive aversion. It often happens that a man who feels it his burning mission to work out and reveal some hitherto neglected or unseen aspect of truth, does so at the cost of a one-sidedness which is a necessary defect of his quality. Blake could no more appreciate Sir Joshua--at least at this stage of his being--than Sir Joshua could appreciate Blake. The veteran Reynolds once told him, when a young man, "to work with less extravagance and more simplicity, and to correct his drawing." Blake never got over that. We can imagine the suppressed heat with which he listened choking to the advice of the popular artist who was so utterly ignorant of his aims and ideals. To us, who may enter into the soul of each, it is given to realize that they, and all the company of the world's great artists, have furthered the true work of art; have all helped, and are helping, according to their gifts and in their degree, to rear the walls and set with windows and crown with battlements and towers, the palace of beauty for the soul of man to dwell in with delight and worship. That the workers have not always recognized each other is matter for regret, though it is scarcely perhaps to be wondered at, seeing that each is set on emphasizing and relieving against its background the one point which seems to him necessary and valuable. The characteristic notes which Blake appended to Reynolds' "Discourses" many years later, express much of his dislike. Truly, it is easy to conceive of a mind offering nothing but delight and admiration to Reynolds' practice, yet excited to a grave disapproval by much of his theory, or what he states as his theory. For Reynolds actually taught that genius--such as his own, for instance--was a state to be inducted into by precept, and evolved through study, instead of being a thing of fire, a tongue of flame from on high, set on a man as a seal, from which he cannot escape. I am reminded of Rossetti here, who quite sincerely told Mr. Hall Caine, "I paint by a set of unwritten but clearly-defined rules, which I could teach to any man as systematically as you could teach arithmetic." Ah! that such genius _might_ thus be taught! However, Reynolds, his practice and theory alike, were by Blake swept into a limbo of unconditional condemnation, though occasionally, in spite of the prejudice he nursed against Sir Joshua, he flashed out notes of emphatic approval, on certain utterances in the great man's "Discourses." [Illustration: PAGE FROM "AMERICA, A PROPHECY," 1793 Printed in blue, from the Print Room copy] CHAPTER II LIFE AT FELPHAM