Among the new friends were John Varley, the father of English water-colours, as he has been affectionately termed, Richter and Holmes, both leaders of the new school. These men were the forerunners of Turner, Copley-Fielding, De Wint, Cotman, Prout, David Cox and William Hunt, and though in these days they are little remembered, and the glory of them has been eclipsed by their great successors, their somewhat timid and delicate work in South Kensington Museum will repay a visit and establish their pioneer claims to our regard.
It was for John Varley that Blake drew the celebrated visionary heads, the only work of his with which he is associated by many people. Varley was by way of being an astrologer, and took the deepest interest in the occult and the spiritualistic. Blake’s talk of visions, of the actual appearances vouchsafed him from the other world, had a significance to Varley’s matter-of-fact mind much more vulgar and material than he intended.
Our artist had cultivated imagination till it became vision, and what he thought, that he saw, for, as Mr. Smetham wrote, “thought crystallized itself sharply into vision with him.” So that when his friend asked him to draw the portraits of men long dead and gone, such as Edward III, William Wallace, Richard I, Wat Tyler, or unknown personages, such as “the man who built the Pyramids,” or “the man who taught Mr. B. painting in his dreams,” and (most remarkable of all!) “the Ghost of a Flea,” Blake had but to command his visionary faculty and summon before his gaze the desired sitters. The one which has been the most talked about is the Ghost of a Flea, and Varley gives the following description of the manner in which it sat for its portrait: “This spirit visited his (Blake’s) imagination in such a figure as he never anticipated in an insect. As I was anxious to make the most correct investigation in my power of the truth of these visions, on hearing of this spiritual apparition of a flea, I asked him if he could draw for me the resemblance of what he saw. He instantly said, ‘I see him now before me.’ I therefore gave him paper and a pencil with which he drew the portrait.... I felt convinced by his mode of proceeding that he had a real image before him; for he left off and began on another part of the paper to make a separate drawing of the mouth of the flea, which, the spirit having opened, he was prevented from proceeding with the first sketch till he had closed it.”
Various explanations of these portraits of “spectres” (as Varley has it) have been put forward. Messrs. Ellis and Yeats write of them, “All are pictorial expressions of personality, pictorial opinions, drawn, as Blake believed, from influences set going by the character of the men, and permanently affecting the atmosphere, finer than air or ether, into which his imagination looked for their lineaments.”
A large and curious collection of these heads, executed by Blake at nocturnal sittings at Varley’s house, is still in existence, but not in the British Museum, unfortunately. They mostly bear the date, August, 1820.
In 1820 Blake illustrated Thornton’s “Virgil’s Pastorals.” These, along with his other art-work, will be considered in a later portion of this book. They are the only woodcuts Blake ever made, and are unique, strong and suggestive as anything he ever did. In the same year he made a drawing of Laocoon, to illustrate an article in Rees’ “Cyclopaedia” (to such hack-work as this he was frequently reduced to replenish the household purse). He went to the Academy Schools, and took his place humbly among the young men to draw from the cast of Laocoon there.
“What! you heer, Meesther Blake,” said his old friend Fuseli; “we ought to come and learn of you, not you of us.”
In 1821 Blake moved to No. 3, Fountain Court, in the Temple, his last dwelling-place on earth. It was at that time an old-fashioned respectable court, very quiet, though removed but a few paces from the bustling Strand. The two rooms on the first floor which the Blakes inhabited have been more graphically described than any other of Blake’s homes. The front room had its walls covered with his pictures and served as a reception room for his friends, while the back room was living room, kitchen, sleeping apartment and studio all in one. One of his friends wrote, “There was a strange expansion and sensation of freedom in those two rooms, very seldom felt elsewhere”; while another, speaking of them to Blake’s biographer Gilchrist, exclaimed, “Ah! that divine window!” It was there that Blake’s working table was set, with a print of Albrecht Dürer’s “Melancholia” beside it; and between a gap in the houses could be seen the river, with its endless suggestions, memories and “spiritual correspondences.”
It is to the credit of the Royal Academy that in the year after Blake’s last move, 1822, a grant of £25 was given to this least popular but greatest of her children.
Allan Cunningham and the fastidious Crabb Robinson give the impression that Blake lived in squalor at the end, but the insinuation is refuted by all those who knew him well. Says one, “I never look upon him as an unfortunate man of genius. He knew every great man of his day, and had enough”; while one of the most attached of his friends and disciples (a young artist of the band I have mentioned, who attained success as a painter of “poetic landscape,” Mr. Samuel Palmer) wrote to Gilchrist, “No, certainly,—whatever was in Blake’s house, there was no squalor. Himself, his wife and his rooms, were clean and orderly; everything was in its place. His delightful working corner had its implements ready, tempting to the hand. The millionaire’s upholsterer can furnish no enrichments like those of Blake’s enchanted rooms.”