The introduction of localities, streets and districts, has an almost ludicrous effect, as for instance in the following lines: "What are those golden builders doing near mournful ever-weeping Paddington?" Is it, one wonders, a prophetic announcement of the erection of the Great Western Terminus? Had Blake possessed the saving grace of humour, he would never have committed such laughter-provoking solecisms as this and other passages of the same kind. Humour is a means of restoring and keeping the balances true. It assists the sense of proportion, and like a fresh wind blows the cobwebs away; but, alas! Blake had no faintest trace of it. In a kind of Dionysiac rage he has flung his noble ideas, original conceptions, pell-mell into the cauldron along with mere windy, mouth-filling rodomontade. There is a great deal of confused noise, but by snatches we distinguish the half-drowned but heavenly music. The fact is that his material (God-dictated, as he thought) so excited him that he was unable to deal with it, unable to direct the heat of his genius into fusing the heterogeneous mass into the perfect artistic unity. The vision unnerved him, and he all but lost his balance. Well might he too have cried: A veil 'twixt us and Thee, dread Lord, A veil 'twixt us and Thee, Lest we should hear too clear, too clear And unto madness see. The illustrations to the book have all the concentration, power and grasp which the literary matter lacks. The pages seem to throb beneath the teeming forms of life with which his hand has adorned them. Each in the disposition of the beautiful writing is a picture. Wild passionate little figures, drawn with exquisite feeling, leap, climb, and fly about some of the borders while on others the writing is interrupted and entwined with creeping tendrils, or adorned with flames, stars, serpents, and processions of insects--a riot of decoration. "Jerusalem" is a folio of 100 pages, one side of each leaf only being printed. From the first page to the twenty-fifth of the Museum copy the writing is in black, while the designs are left white outlined in black, on a dense sable ground. Pages 26 to 50 are in deep green, the printed designs being sometimes finished by hand, the deepest tones being laid on with a brush full of heavy colour. Pages 51 to 100 are again black and white--the black being always of great intensity.