which, contrasted with the calm thanksgiving of the opening design, gloriously enbodies the words of its text, 'So the Lord blessed the latter end of Job more than the beginning.'
In these three last designs, I would specially direct attention to the exquisite beauty of the female figures. Nothing proves more thoroughly how free was the spiritualism of Blake's art from any ascetic tinge. These women are given to us no less noble in body than in soul; large-eyed, and large-armed also; such as a man may love with all his life.
The angels (and especially those in plate 14, 'When the morning stars sang together,') may be equally cited as proofs of the same great distinctive quality. These are no flimsy, filmy creatures, drowsing on feather-bed wings, or smothered in draperies. Here the utmost amount of vital power is the heavenly glory they display; faces, bodies, and wings, all living and springing fire. And that the ascetic tendency, here happily absent, is not the inseparable penalty to be paid for a love of the Gothic forms of beauty, is evident enough, when we seen those forms everywhere rightly mingling with the artist's conceptions, as the natural breath of sacred art. With the true daring of genius, he has even introduced a Gothic cathedral in the background of the worshipping group in plate!, as the shape in which the very soul of worship is now for ever embodied for us. It is probably with the fine intention of symbolizing the unshaken piety of Job under heavy affliction, that a similar building is still seen pointing its spires heavenward in the fourth plate, where the messengers of ruin follow close at one another's heels. We may, perhaps, even conjecture that the shapeless buildings, like rude pagan cairns, which are scattered over those scenes of the drama which refer to the gradual darkening of Job's soul, have been introduced as forms suggestive of error and the shutting out of hope. Everywhere throughout the series we meet with evidences of Gothic feeling. Such are the recessed settle and screen of trees in plate 2, much in the spirit of Orcagna; the decorative character of the stars in plate 12; the Leviathan and Behemoth in plate 15, grouped so as to recall a mediaeval
