Wainewright was born out of due season. He might have avoided the unpleasant and ugly things that befell him if he had been a contemporary of the Borgias. He was an artist, and art is no respecter of persons. We are tempted to say that art is fallen man's supreme consolation. It is assuredly the meeting-place between a certain kind of saint and a certain kind of sinner. The highest artist-saint, like Jesus Christ, appears to create himself rather than works of art, and such always makes an irresistible appeal to the artist-sinner, as we see that Christ did to Oscar Wilde in his _De Profundis_ and to George Moore in his _Brook Kerith_. The latter seems to be as far as the artist can reach without religion, and it could teach most Christians something about their Master. When Blake discovered that the Real Man in each one of us has imagination for his chief and working faculty, he overcame once for all the provoking dualism of art and religion, and at the same time he became an attraction to those who live an imaginative life, especially among sinners. Wainewright was drawn to Blake for precisely the same reason that many modern enthusiasts are who could hardly be reckoned religious. He is permanently interesting to the psychologist as to the artist, and hence he could not escape the notice of Lord Lytton, who introduced him into his _Lucretia_, and above all of Oscar Wilde, who darted upon him, and who, with such a subject, was loosened to write in his most witty, brilliant, and characteristic style. Here I must mention, in order, Blake's chief works from 1810 to the end. In 1793 was published a small book of engravings _For Children, The Gates of Paradise_. Blake re-issued this in 1810, changing the _For Children_ to _For the Sexes_. The changes do not throw fresh light on Blake. Rather, what is important to know, we see, in spite of the changes, that Blake's deepest thoughts were the same in 1795 and 1810. I will quote only the first two lines: "Mutual Forgiveness of each vice, Such are the Gates of Paradise." Forgiveness of sins, so impossible for the Pharisee, so easy for the artist, is the heart of Christ's gospel. Blake leaned to that form of Christianity which best understood forgiveness. At this time he was inclined to think that the Church of Rome came nearest to Christ. Blake reprinted _The Prologue and Characters of Chaucer's Pilgrims_ in 1812. Then followed five years of indefatigable production, but the works are lost for this world, though Blake would probably say that they were published in the other, and read, and remembered. About 1817 he engraved leaflets, _Laocoon_, and _On Homer's Poetry_, and _On Virgil_.