was that of possessing this precious gift in excess. His fancy overmastered him—until he at length confounded 'the mind's eye' with the corporeal organ, and dreamed himself out of the sympathies of actual life.
His method of colouring was a secret which he kept to himself, or confided only to his wife; he believed that it was revealed in a vision, and that he was bound in honour to conceal it from the world. 'His modes of preparing his grounds,' says Smith, in his Supplement to the Life of Nollekens, 'and laying them over his panels for painting, mixing his colours, and manner of working, were those which he considered to have been practised by the early fresco painters, whose productions still remain in many instances vividly and permanently fresh. His ground was a mixture of whiting and carpenters' glue, which he passed over several times in the coatings; his colours he ground himself, and also united with them the same sort of glue, but in a much weaker state. He would, in the course of painting a picture, pass a very thin transparent wash of glue-water over the whole of the parts he had worked upon, and then proceed with his finishing. He had many secret modes of working, both as a colourist and an engraver. His method of eating away the plain copper, and leaving the lines of his subjects and his words as stereotype, is, in my mind, perfectly original. Mrs. Blake is in possession of the secret, and she ought
