Page:William Blake, painter and poet.djvu/14

 Ellis and Yeats, to have been originally named O'Neil, and to have assumed his wife's name as a means of escape from pecuniary difficulties. This wife, however, was not the mother of James. This genealogy is not supported by any strong authority, and is at variance with another, also indifferently supported, according to which the artist's family were connected with the admiral's. We must leave the question where we find it, merely remarking that Blake's parents were certainly Protestants, and that we can detect no specifically Irish trait in his character or his works. He had three brothers one,—James, mild and unassuming like his father; another, Robert, who died young, apparently with more affinity to William; the third, John, a scapegrace. There was also a sister who never married, and is described as a thorough gentlewoman, reserved and proud. None of the family except William and Robert seem to have shown any artistic talent. With William it must have been precocious, for, ere he had attained the age of ten, his father, who as a small tradesman might rather have been expected to have thwarted the boy's inclinations, placed him at "Mr. Pars' drawing school in the Strand." Here he learned to draw from plaster casts—the life was denied him—and with the aid of his father and a friendly auctioneer collected prints, then to be picked up cheap, showing from the very first, as he afterwards related, a complete independence of the pseudo-classic taste of the day. At four he had had his first vision, when "God put his forehead to the window, which set him screaming." At eight or ten he saw a tree filled with angels, and angelic figures walking among haymakers. "The child is father to the man."

At the age of fourteen Blake was apprenticed to the engraver Basire. Ryland had been thought of, but Blake, according to a story which he must have narrated, but may not improbably have imagined, demurred, declaring that the fashionable engraver looked as if he would one day be hanged, as he actually was. Basire's practice lay chiefly in engraving antiquities, and the last five years of Blake's apprenticeship were chiefly spent in drawing tombs and architectural details in Westminster Abbey a most advantageous discipline, which imbued his mind with the Gothic spirit, an influence already in the air, evincing itself in Gotz von Berlichingens, Rowley Poems, Percy Relics, and Castles of Otranto; and, by directing him to English history and Shakespeare, powerfully