The conception is of sublimity and boldness, and in the execution of this particular plate the colour is laid on with great care, being shaded and stippled to a high degree of finish. The attitude of the Architect of the Universe is heroic, and is characteristic of Blake in his best manner. Leaning far out from the centre of the sun itself, a grand male figure, with hair and beard streaming in the wind of cosmic motion, measures the space below him with a compass, indicating the orbit on which the world is to travel. The Museum possesses another edition, as a separate drawing, in one of the portfolios, which we shall examine later. Mr. Sydney Morse possesses yet another, which was on view at Messrs. Carfax's Gallery; and a fourth, probably the finest of all these different renderings, was sold with the title-page and three plates of "Europe," at Messrs. Hodgson's sale for L80. The frontispiece to "Europe" has a magnificent evil-looking snake on the centre of the page, blue hills and distance seen through its mottled coils. "The Pilgrim," some verses by Ann Radcliffe, are scrawled on the blank reverse of the leaf. The first and last time it may be supposed that Ann Radcliffe found herself in such august company! All of the plates in this book are defaced by the same handwriting. Blake's writing and the engraved outlines are of a bluish green colour. "Red Orc" is seen in the second plate climbing up the sky and about to take his station on a bank of cloud outlined boldly against the blue. Below him, in a limbo of darkness, three naked passions in the form of demons are struggling together and falling down into the nether heavens. On the page entitled "a Prophecy" a lovely angel takes her despairing flight through the sky. Her wings merge from white and mauve to a deep blue like that of a pigeon's neck, her beautiful feet gleam white against the rosy cloud behind, and her hair falls over her face in abandon of grief or fear or despair--we know not which. All the different and delicate shades in an hydrangea are to be found in this plate, and would seem to have suggested its subtle colour harmonies. For pure melody of line the next plate surpasses it, however. Enitharmon, fierce, beautiful, nude, descends in a cloud to awaken Orc, who lies face downward on the earth, the outline of his figure suggesting a young love-god rather than the fierce personality of the terrible Orc. Even the flames about his head might be those of love. The colour is very delicate and transparent. Then follow two full-page interiors, which, in spite of the fine drawing and colour, oppress, with the uncomfortable sensation of confinement, airlessness! The fact is, that we are so accustomed to Blake's open air windy wilds, and broad spaces of sky and cloud, that we do not feel at home with him when he takes us within doors. [Illustration: PLATE FROM "EUROPE, A PROPHECY," 1794 Printed and coloured by hand]