The aphorisms are followed by five "Memorable Fancies," wild dreams full of paradoxes, and allegories both spiritual and grotesque. The designs to this book are very fine, but I cannot help thinking that this particular copy was not coloured by Blake's hand. In comparison with the one formerly belonging to Lord Crewe, which in all respects is magnificent, the Library copy is coloured too crudely, to be in the least characteristic of Blake. Particularly unlike him are the heavy gray shadows disfiguring the nude figures. There is no impasto work here as in the Crewe copy, but the colour is put on with no uncertain or unpractised hand, though in a manner unlike Blake. Far more delightful are the renderings of several of these plates as seen in the small "Book of Designs." They are worked up with the utmost care and finish, and the distinctive qualities of Blake's colour, the unmistakable impress of his hand, are there exhibited in their highest manifestations. The sense of mystery, innate to their conception, is preserved, nay, accentuated! whereas the Library copy, through its unpleasant, and I cannot but think un-Blakean passages of colour, has lost in some places this romantic and inimitable quality. The title-page alive with leaping flames, a nude woman bathing, salamander-like, in fire, the heaving body of a patterned water-snake writhing in foamy water, and a male figure seated on a mound prophetic of the design presently to be consummated in "Death's Door," are among the most notable of the pictures in the "Marriage of Heaven and Hell." Many of the pages are faintly tinted, while delicate suggestive ornaments cling about the writing. In 1791 Blake designed and engraved for Johnson six plates to "Tales for Children," by Mary Wollstonecraft. The book is in the Print Room, somewhat yellow and musty. In no sense is it attractive, and it would find small favour with the modern child. The fact is that Blake worked in dire constraint when illustrating homely scenes of actual life. He had no pleasure in the invention of accessories. In his art all is left out that may be, and the bare, the sparse, the elemental, and the austerely beautiful alone receive his attention, but always adjusted to meet the requirements of his own rigid sense of harmony in composition.