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hope' which, now that it has been realised, so long afterwards, comes to us like a reproach. 'Shall Painting,' asks Blake in his Descriptive Catalogue, 'be confined to the sordid drudgery of facsimile representations of merely mortal and perishing substances, and not be, as poetry and music are, elevated into its own proper sphere of invention and visionary conception? No, it shall not be so! Painting, as well as poetry and music, exists and exults in immortal thoughts.' It was to restore this conception of art to England that Blake devoted his life. 'The Enquiry in England,' he said, in his marginalia to Reynolds, 'is not whether a Man has Talents and Genius, but whether he is Passive and Polite and a Virtuous Ass.' He says there: 'Ages are all Equal, but Genius is always above the Age.' He looks on Bacon and Locke and Burke and Reynolds as men who 'mock Inspiration and Vision.' 'Inspiration and Vision,' he says, 'was then, and now is, and I hope will always Remain, my Element, my Eternal Dwelling-place.' 'The Ancients did not mean to Impose when they affirmed their belief in Vision and Revelation. Plato was