of Venetian and Flemish demons, who hate the Roman and Venetian schools. They cause that everything in art shall become a machine; they cause that the execution shall be all blocked up with brown shadows; they put the artist in fear and doubt of his own original conception. The spirit of Titian was particularly active in raising doubts concerning the possibility of executing without a model. Rubens is a most outrageous demon, and by infusing the remembrances of his pictures, and style of execution, hinders all power of individual thought. Corregio is a soft and effeminate, consequently a most cruel demon, whose whole delight is to cause endless labour to whoever suffers him to enter his mind.' When all this is translated into the language of sublunary life, it only means that Blake was haunted with the excellences of other men's works, and, finding himself unequal to the task of rivalling the soft and glowing colours and singular effects of light and shade of certain great masters, betook himself to the study of others not less eminent, who happened to have laid out their strength in outline.
To describe the conversations which Blake held in prose with demons and in verse with angels, would fill volumes, and an ordinary gallery could not contain all the heads which he drew of his visionary visitants. That all this was real, he himself most sincerely believed; nay, so infectious was his enthusiasm, that some acute and sensible
