On Sir Joshua again:—
No real style of colouring now appears,
Save thro' advertisements in the newspapers;
Look there—you'll see Sir Joshua's colouring:
Look at his pictures—all has taken wing.
I think it may not be superfluous to take into account here, as we did when first alluding to these notes on Reynolds, all the sources of Blake's hostility towards the universally admired and extolled Prince of English Portrait-painting. The deepest of these was the honest contempt of a man with high spiritual aims for one whose goal, though honourable, and far above the common attainment, was at as widely different an altitude from Blake's as the mere earthly hill-top from the star which shines down upon it. Hence the entire antagonism of their views; for such different ends must be reached by wholly different means. It is no invalidation of this high claim for Blake to add that the vivid contrast of their respective lots was another source; for recognition is dear to every gifted man, however unworldly, however sincere his indifference to those goods of fortune which ordinarily accompany recognition, but are the mere accidents of which that is the precious substance.
There was also, I am bound to confess (and it is not much to confess either), some personal antipathy in the case which added, doubtless, an extra dash of sharpness to the flavour of these pungent notes, and would seem to have originated in an interview (probably anterior to the one already described), at which Blake's experiences were not wholly of Sir Joshua's 'blandness.' 'Once I remember his talking to me of Reynolds,' writes a surviving friend: 'he became furious at what the latter had dared to say of his early works. When a very young man he had called on Reynolds to show him some designs, and had been recommended to work with less extravagance and more simplicity, and to correct his drawing. This Blake seemed to regard as an affront never to be forgotten. He was very indignant when he spoke of it.'
