[4]In 1809, Blake exhibited sixteen poetical and historical inventions, in his brother's first-floor in Broad Street; eleven pictures in fresco, professed to be painted according to the ancient method, and seven drawings, of which an explanatory catalogue was published, and is perhaps the most curious of its kind ever written. At page 7, the description of his fresco painting of Geoffrey Chaucer's Pilgrimage commences. This picture, which is larger than the print, is now in the possession of Thomas Butts, Esq., a gentleman friendly to Blake, and who is in possession of a considerable number of his works.
[5]See the 'Artist,' by Prince Hoare, Esq., No. 13, vol. I. p. 13.
[6]I must do Mr. Stothard the justice to declare, that the very first time I saw him after he had read the announcement of Blake's death, he spoke in the handsomest terms of his talents, and informed me that Blake made a remarkably correct and fine drawing of the head of Queen Philippa, from her monumental effigy in Westminster Abbey, for Gough's Sepulchral Monuments, engraved by Basire. The collectors of Stothard's numerous and elegant designs will recollect the name of Blake as the engraver of several plates in the Novelist's Magazine, the Poetical Magazine, and also others for a work entitled the Wit's Magazine, from drawings produced by the same artist. Trotter, the engraver, who received instructions from Blake, and who was a pattern-draughtsman to the calico-printers, introduced his friend Stothard to Blake, and their attachment for each other coutinued most cordially to exist in the opinion of the public, until they produced their rival pictures of Chaucer's Canterbury Pilgrimage.
[7]This interesting little picture is painted in fresco. It is now the property of John Varley, the artist, whose landscapes will ever be esteemed as some of the finest productions in Art, and who may fairly be considered as one of the founders of the Society of Artists in Water-Colors; the annual exhibitions of which continue to surpass those of the preceding seasons.
[8]Blake's talent is not to be seen in his engravings from the designs of other artists, though he certainly honestly endeavored to copy the beauties of Stothard, Flaxman, and those masters set before him by the few publishers who employed him; but his own engravings from his own mind are the productions which the man of true feeling must ever admire, and the predictions of Fuseli and Flaxman may hereafter be verified 'That a time will come when Blake's finest works will be as much sought after and treasured up in the portfolios of men of mind, as those of Michel Angelo are at present.'
[9]He was inspired with the splendid grandeur of this figure, by the vision which he declared hovered over his head at the top of his staircase; and he has been frequently heard to say, that it made a more powerful impression upon his mind than all he had ever been visited by. This subject was such a favorite with him, that he always bestowed more time and enjoyed greater pleasure when coloring the print, than anything he ever produced.
Mr. F. Tatham employed him to tint an impression of it, for which I have heard he paid him the truly liberal sum of three guineas and a half. I say liberal, though the specimen is worth any price, because the sum was so considerably beyond what Blake generally had been accustomed to receive as a remuneration for his extraordinary talents. Upon this truly inestimable impression, which I have now before me, Blake worked when bolstered-up in his bed only a few days before he died; and my friend F. Tatham has just informed me, that after Blake had frequently touched upon it, and had as frequently held it at a distance, he threw it from him, and with an air of exulting triumph exclaimed, 'There, that will do! I cannot mend it.' However, this was not his last production; for immediately after he had made the above declaration to his beloved Kate, upon whom his eyes were steadfastly fixed, he vociferated, 'Stay! keep as you are! you have ever been an angel to me, I will draw you'; and he actually made a most spirited fineness of her, though within so short a period of his earthly termination.
[10]Loutherbourgh was also, in his way, very ingenious in his contrivances. To oblige his friend Garrick, he enriched a drama, entitled 'The Christmas Tale,' with scenery painted by himself, and introduced such novelty and brilliancy of effect, as formed a new era in that species of art. This he accomplished by means of differently colored silks placed before the lamps at the front of the stage, and by the lights behind the side scenes. The same effects were used for distance and atmosphere. As for instance, Harlequin in a fog was produced by tiffany hung between the audience and himself. Mr. Seguire, the father of the Keeper of the King's Pictures, and those of the National Gallery, purchased of Mr. Loutherbourgh ten small designs for the scenery of Omiah, for which scenes the manager paid him one thousand pounds. Mr. Loutherbourgh never would leave any paper or designs at the theatre, nor would he ever allow any one to see what he intended to produce; as he secretly held small cards in his hand, which he now and then referred to in order to assist him in his recollections of his small drawings.
[11]Not the 13th, as has been stated by several editors who have noticed his death.
[12]A time will come when the numerous, though now very rare works of Blake (in consequence of his taking very few impressions from the plates before they were rubbed out to enable him to use them for other subjects), will be sought after with the most intense avidity. He was considered by Stothard and Flaxman (and will be by those of congenial minds, if we can reasonably expect such again) with their highest admiration. These artists allowed him their utmost unqualified praise, and were ever anxious to recommend him and his productions to the patrons of the Arts; but, alas! they were not sufficiently appreciated as to enable Blake, as every one could wish, to provide an independence for his surviving partner, Kate, who adored his memory.