In the second edition of 1819 the two were incorporated. In this third edition of 1821 the illustrations were increased to as many as two hundred and thirty, including these from Blake's hand.
And hereby hangs a tale. Blake made twenty drawings to illustrate the Pastorals of Phillips, introduced by Thornton into his 'course' of Virgil reading. From these he executed seventeen wood blocks, the first he had ever cut, and, as they will prove, the last. The rough, unconventional work of a mere 'prentice hand to the art of wood-engraving, they are, in effect, vigorous and artist-like, recalling the doings of Albert Dürer and the early masters, whose aim was to give ideas, not pretty language. When he sent in these seventeen, the publishers, unused to so daring a style, were taken aback, and declared 'this man must do no more;' nay, were for having all he had done re-cut by one of their regular hands. The very engravers received them with derision, crying out in the words of the critic, 'This will never do.' Blake's merits, seldom wholly hidden from his artist contemporaries, were always impenetrably dark to the book and print selling genus.
Dr. Thornton had, in his various undertakings, been munificent to artists to an extent which, as we have said, brought him to poverty. But he had, himself, no knowledge of art, and, despite kind intentions, was disposed to take his publishers' view. However, it fortunately happened that meeting one day several artists at Mr. Aders' table,—Lawrence, James Ward, Linnell, and others,—conversation fell on the Virgil. All present expressed warm admiration of Blake's art, and of those designs and woodcuts in particular. By such competent authority reassured, if also puzzled, the good Doctor began to think there must be more in them than he and his publishers could discern. The contemplated sacrifice of the blocks already cut was averted. The three other designs, however, had been engraved by another, nameless hand: those illustrative of the three 'comparisons' in the last stanza but
