own profit and Blake's fame, in obtaining subscriptions. His list comprises no less than five hundred and eighty-nine names, from London and the chief provincial towns,—Liverpool, Manchester, Birmingham, Bristol, Edinburgh, Newcastle. Native Yorkshire,—Leeds, Wakefield, Halifax,—contributes a large contingent. There are, however, only one or two titled subscribers. The artists, always best appreciators of one another, muster in strength as supporters of the enterprise, not without importunity on busy Cromek's part. We particularize with interest the names of Bewick, from far Newcastle, and 'Mr. Green, landscape draughtsman, Ambleside.' A few literary men came forward; among them Holcroft, and Hayley, bringing with him Mrs. Poole of Lavant, and printer Seagrave. Vigilant Cromek had, at the outset, taken care not to neglect these old friends of the designer's. The subscriptions at two and a half guineas amount to above £1,800; besides proof copies at four guineas, and a margin of unsubscribed-for copies on sale. This makes Cromek pretty sure of a good profit by his protege's genius and his own activities, after all outlay to designer (twenty guineas), engraver (perhaps £500), printing, advertising, puffing, travelling expenses, and allowances to the trade.
While the engravings were in progress, the name of the Queen as a subscriber had been somehow obtained, and permission to dedicate the designs to her; of which Blake availed himself in the following simple and earnest stanzas,—a mere enigma, I should fancy, to old Queen Charlotte. The vignette, which was to have accompanied it, Cromek, as we saw, returned on his hands:—
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The door of death is made of gold, |
