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measure and order of nature, and without complete command over the material out of which it creates. In his youth he had sought after prints of such inventive work as especially appealed to him, Michelangelo, Raphael, Dürer; it is possible that, having had 'very early in life the ordinary opportunities,' as Dr. Malkin puts it, 'of seeing pictures in the houses of noblemen and gentlemen, and in the king's palaces,' he had seen either pictures, or prints after pictures, of the Italian Primitives, whose attitudes and composition he at times suggests; and, to the end, he worked with Dürer's 'Melancholia' on his work-table and Michelangelo's designs on his walls. It not unfrequently happened that a memory of form created by one of these great draughtsmen presented itself as a sort of short cut to the statement of the form which he was seeing or creating in his own imagination. A Devil's Advocate has pointed out 'plagiarisms' in Blake's design, and would dismiss in consequence his reputation for originality. Blake had not sufficient mastery of technique to be always wholly original in design; and it is to his