observes, it is,—uncouth compared with Stothard's; but, tested by the poetry and spirit of Chaucer, it is, in all points of character and arrangement, undoubtedly superior. There is, too, a mediaeval look about Blake's which does not distinguish Stothard's version.
I have heard that Blake retouched the plate of the Canterbury Pilgrimage, and did not improve it. There are impressions, rather black and heavy in effect, which would seem to confirm this rumour.
To judicious counsel from a friend Blake was always amenable, but was stiffened in error by hostile criticism. Unaided by the former, while at work on his fresco and engraving, he had been in the very worst mood for realizing success, or even the harmonious exercise of his powers. He was in the temper to exaggerate his eccentricities, rather than to modify them. If Cromek, instead of throwing up Blake's drawing when he could not dictate terms, had gone on and gently persuaded the designer to soften his peculiarities; or if Blake had suffered his design to be engraved by Schiavonetti, and doctored (as that engraver so well knew how) by correct smooth touches, some of Blake's favourite hard, 'determinate outline' being sacrified a little, a different fortune would have awaited the composition. It might have become almost as well known and admired as Stothard's, certainly as the Blair, instead of being a curiosity sought only by collectors of scarce things.
Blake was at no pains, throughout this business or afterwards, to conceal his feelings towards Stothard. To the end of his life he would, to strangers, abuse the popular favourite, with a vehemence to them unaccountable. With friends and sympathizers, he was silent on the topic. Such was the mingled waywardness and unworldliness of the man; exaggerating his prejudices to the uncongenial, waiving them with the few who could interpret them aright. He was blind to the fact that his motives for decrying Stothard were liable to misconstruction; and would have been equally unguarded
