Mary, white as the lilies of her annunciation, has fallen back fainting into the arms of Joseph, while above her prostrate body, “a mist of the colour of fire” would seem to have gradually taken form and become incarnate in the exquisite beauty of the infant Jesus. Light as thistledown and shining like a star, so that the whole chamber—with the terrified Joseph, the white mother, the oxen feeding—are all illuminated by its intense radiance—this apotheosis of divinity in childhood takes flight to the outstretched arms of St. Elizabeth, who sits on the floor with a quaint little St. John praying in her lap. The open window through which is discerned the star in the East, takes the imagination out into the night of limitless mystery.

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THE NATIVITY

Tempera painting on copper. This reproduction is taken from
W. B. Scott’s etching from the original picture. It is undated

The technique is superior to most of Blake’s work in tempera, and is adequate, the rendering of light in the picture containing qualities nothing short of marvellous.

It was impossible to look at this “Nativity” without being moved. The event appeared to Blake entirely supernatural in effect as in cause. He seems to have attached no historical value to it, nor indeed to any of his Biblical subjects. They were to him merely symbols of eternal ideas, projected by the Holy Ghost into the world for its enlightenment, and of these ideas Christ was the chiefest; but every idea he thought capable of manifesting itself equally in diverse symbols. His mind had some of the contemplative and impersonal characteristics of the oriental, and by its original processes he was enabled to appreciate the true inwardness of Christianity as the western mind cannot do. Christianity was born in the East like the Star of its Epiphany, and has come to maturity in the West, but its most mystical secrets will be hid from us until it has returned again and bathed in the immemorial symbolism and true occultism of the East.

Being so unfortunate as not to obtain leave from the “Nativity’s” present owner to reproduce it in these pages, I have been obliged to take our illustration from the etching which William Bell Scott made after the original, and for which permission was courteously granted me by Messrs. Chatto and Windus. It is but the shadow of a shadow, for Bell Scott’s etching is only that, but it will serve to give some idea of the solemn beauty of the tempera painting.

Now let me recall another purely imaginative composition.

“The River of Life,” a water-colour picture, reminded me in its transparence and delicate brilliance of Blake’s earlier printed books.