CHAPTER XXIV
THE DESIGNS TO BLAIR. 1804—8. [ÆT. 47—51.]
From July 1805 to May 1808 the twelve admirable etchings after Blake's designs had been in progress under the skilful and conscientious hands of the Italian workman,—etchings which have not a line too much nor too little. They were, as I have said, a really favourable medium for introducing Blake to the many: although admirers might prefer the artist's own characteristic expression of himself with the graver. There were no such thorough-paced admirers then, perhaps there are not above half a dozen now. Schiavonetti's version is, in fact, a graceful translation, and, as most would think, an improvement.
The boldly-engraved portrait of Blake after Phillips' fine drawing, prefixed to The Grave, was considered like. We, in it, recognise the high visionary brow, the speculative eyes characteristic of William Blake. But the aspect is a too idealized and made-up one, too studiously inspired, and does not therefore convey a wholly reliable impression. You would hardly, for instance, suspect its original to have been short in stature, as he really was. (See Frontispiece, Vol. II.)
In the autumn of 1808, the book was published by Cromek, in alliance with Cadell and Davies, Johnson, Payne, and other leaders in the trade. It was beautifully printed in quarto by Bensley, the best printer of his day, and was indorsed with Fuseli's testimonial, and the credentials from the R.A.'s again. Cromek had certainly worked hard for his
