Various explanations of these portraits of "spectres" (as Varley has it) have been put forward. Messrs. Ellis and Yeats write of them, "All are pictorial expressions of personality, pictorial opinions, drawn, as Blake believed, from influences set going by the character of the men, and permanently affecting the atmosphere, finer than air or ether, into which his imagination looked for their lineaments." A large and curious collection of these heads, executed by Blake at nocturnal sittings at Varley's house, is still in existence, but not in the British Museum, unfortunately. They mostly bear the date, August, 1820. In 1820 Blake illustrated Thornton's "Virgil's Pastorals." These, along with his other art-work, will be considered in a later portion of this book. They are the only woodcuts Blake ever made, and are unique, strong and suggestive as anything he ever did. In the same year he made a drawing of Laocoon, to illustrate an article in Rees' "Cyclopaedia" (to such hack-work as this he was frequently reduced to replenish the household purse). He went to the Academy Schools, and took his place humbly among the young men to draw from the cast of Laocoon there. "What! you heer, Meesther Blake," said his old friend Fuseli; "we ought to come and learn of you, not you of us." In 1821 Blake moved to No. 3, Fountain Court, in the Temple, his last dwelling-place on earth. It was at that time an old-fashioned respectable court, very quiet, though removed but a few paces from the bustling Strand. The two rooms on the first floor which the Blakes inhabited have been more graphically described than any other of Blake's homes. The front room had its walls covered with his pictures and served as a reception room for his friends, while the back room was living room, kitchen, sleeping apartment and studio all in one. One of his friends wrote, "There was a strange expansion and sensation of freedom in those two rooms, _very_ seldom felt elsewhere"; while another, speaking of them to Blake's biographer Gilchrist, exclaimed, "Ah! that divine window!" It was there that Blake's working table was set, with a print of Albrecht Duerer's "Melancholia" beside it; and between a gap in the houses could be seen the river, with its endless suggestions, memories and "spiritual correspondences." It is to the credit of the Royal Academy that in the year after Blake's last move, 1822, a grant of L25 was given to this least popular but greatest of her children.