Minds of Blake’s order have been apt to believe in astrology, like Jacob Boehme and Paracelsus; but Varley failed to convert Blake because, no doubt, of the extremely materialistic explanation that he could only give of his science. The stars, according to the astrology that the Western mind scoffs at, are supposed to exert a direct influence on the destinies and characters of men. But there is an Oriental doctrine that dispenses with such a crude theory, considering that the stars have no more direct influence on character than the hands of a clock on time. Like all mysticism, East and West, it regards the universe as the macrocosm and man the microcosm. Between the two there is a correspondence, and therefore the state of the microcosm can be read by the starry indications of the macrocosm as the time can be known by the hands of an exact clock or sundial.
Varley understood nothing of all this, and so failed to convince Blake. But he gave him what he needed far more, hearty good will and unpatronizing faith and reverence. Blake could pursue his visions and report on them, certain that his companion would believe in his marvels with that perfect credulity which so many are ready to give who have rejected the marvels of Christianity. At his bidding he evoked visions of past worthies, and sketched them while they waited. From 1819 to, 1820 Blake executed no less than fifty heads, including his famous Ghost of a Flea.
Those of us who were thrilled in our boyhood by the tales of Lord Lytton like to know that Varley was consulted by him before writing his fascinating Zanoni and Strange Story.
A still greater comfort and help to Blake was John Linnell.
John Linnell began by copying George Morland, passed under the influence of Sir Benjamin West, and then became a pupil of Varley, who sent him straight to nature. Varley’s brother Cornelius attended a baptist chapel, and he induced Linnell to go with him and listen to the sermons of its pastor, the Reverend John Martin. He was convicted of sin, converted, duly immersed, and regularly enrolled. Henceforth religion of a puritanic kind ruled his life, and made him easy to dissenters of the different sects, but stiff and uncompromising towards the Church of England and the clergy. At one time he had thoughts of joining the quakers, whose position is far different from that of the baptists; but he was deterred by Bernard Barton, who, though fond of art himself, warned him that the Friends as a whole looked with extreme suspicion on anyone addicted to such a questionable pursuit as that of making pictures.
Blake was introduced to Linnell by George Cumberland in 1818 at Linnell’s house in Rathbone Place. They soon became intimate. Their religious conception of art united them, and Linnell much relished Blake’s tirades against kings and priests. It was only when Blake spoke with equal licence of the sex passion that Linnell felt an adverse tug at their friendship.
Linnell took over for his country house Collins’ Farm, North End, Hampstead, and there Blake became a regular visitor on Sunday afternoons until sickness and death put an end to his visits.
North End, now in the County of London, is still a village on the Heath. On Saturdays, Sundays, and Bank Holidays it is overlaid with trippers, orange-peel, and paper bags. But no sooner do the holiday-makers return to work than North End and its marvellous portion of heath resumes its mystery, and the dreamer can dream undisturbed till the next people’s holiday.
It is pleasant to think of Blake arriving at Collins’ Farm, then after the friendly greetings emerging by the Bull and Bush, sacred meeting-house of many artists, crossing the road to Rotten Row, mounting the hillock and viewing the fir-trees which still stand in all their mysterious beauty. If only North End had been south instead of north! Blake declared with seeming perverseness that the North upset his stomach. Varley would have explained to him that his ruling sign being Leo, he required like all lions the warm sunny south.
Linnell introduced him to many of his young friends, who, catching the infection, hailed Blake as a master and sat at his feet to learn. We note this deference because it is what Blake so richly deserved; but even among his new young friends there was nothing like complete discipleship. Blake’s art was an inseparable part of his whole passionate, chequered spiritual life. No one whose inner life does not repeat the same broad outlines can really approach near to him as an artist. James Holmes, with his easy, superficial, courtly life, might teach Blake to brighten his water-colours, but he was completely outside of his spiritual travail, and could only wonder mildly why young idealists like Calvert, Palmer, and Richmond could be so preoccupied with Blake’s half-crazed thoughts.