The most poetic of all the pictures is, I think, the one which represents the Birth of Enitharmon or Pity. Rising from a cloudy abyss with that bubble-like buoyancy which Blake knew so well how to breathe into his figures, a nude woman with body bowed in anguish floats upward. The face, with its strange dim, tortured eyes, speaks of the suffering which only the complex and self-conscious soul born of the mingled forces that produced the French Revolution and the New Age is capable of experiencing. The body is of wonderful beauty and purity. On the brink of the abyss from which she rises like the smoke of a hidden fire, Los kneels with head bowed in arms. His deep musings have brought forth this strange sorrow-laden beauty. Another picture, Humanity chained by the wrists and ankles in slavery, its blind eyes raining tears, but with the light of Eternity like an aureole behind its head, is seen waiting, waiting, with an endless and most painful patience, for some final deliverance. Like Michael Angelo's "Il Penseroso," "it fascinates and is intolerable." No more piteous or significant symbol of humanity has ever been conceived, in the full compass of its sorrow, its slavery, and its hope. Blake utters a Promethean cry in "Urizen." He calls out on the creator for having imprisoned and tormented us. A wild ineffectual cry enough, and one not consistent with brighter and saner views, which he held as passionately, but then,--it is Blake! And Blake was never able "to build a house large enough for his ideas." The Print Room does not contain a copy of the "Book of Ahania" which is a continuation of the theme of "Urizen," but short and unillustrated. The small Book of Designs should be looked at in conjunction with "Thel," "Urizen," the "Daughters of Albion" and the "Marriage of Heaven and Hell," for the plates are repetitions from these books often far more rich in colour and delicate in execution than those in the complete works. The large Book of Designs contains, among many plates familiar in design to us, though varied always in colouring, four, which we have not seen before, and can see nowhere else. The first is a colour-print of morning or Glad Day. It is a radiant design, but like many of these colour-prints of Blake, somewhat the worse for time, having the paint rubbed off and blackened in parts. Blake's colour-printing process was as follows, according to the only extant account: [Illustration: COLOUR-PRINTED DESIGN FROM "URIZEN." 1794 Reproduced from the "Small Book of Designs"] He drew the outline heavily in chalk on a mill-board and put on the colour diluted with oil or glue in thick patches, and printed the wet impression off on to paper. He then worked upon this rough ground, when dry, in water colour. But only in a few instances did he show complete mastery of the ingenious method.