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 doubt that plain men went wondering away. The chief attraction was the Canterbury Pilgrimage, not indeed from its excellence, but from the circumstance of its origin, which was well known about town, and pointedly alluded to in the catalogue. The picture is a failure. Blake was too great a visionary for dealing with such literal wantons as the Wife of Bath and her jolly companions. The natural flesh and blood of Chaucer prevailed against him. He gives grossness of body for grossness of mind,—tries to be merry and wicked—and in vain.

Those who missed instruction in his pictures, found entertainment in his catalogue, a wild performance, overflowing with the oddities and dreams of the author—which may be considered as a kind of public declaration of his faith concerning art and artists. His first anxiety is about his colours. 'Colouring,' says this new lecturer on the Chiaroscuro, 'does not depend on where the colours are put, but on where the lights and darks are put, and all depends on form or outline. Where that is wrong the colouring never can be right, and it is always wrong in Titian and Corregio, Eubens and Rembrandt; till we get rid of them we shall never equal Raphael and Albert Durer, Michael Angelo and Julio Romano. Clearness and precision have been my chief objects in painting these pictures—clear colours and firm determinate lineaments, unbroken by shadows—which ought to display and