about them. "That is heaven," he said to a friend, leading him to the window, and pointing to a group of them at play.
Declining, like Socrates, whom in many respects he resembled, the common objects of ambition, and pitying the scuffle to obtain them, he thought that no one could be truly great who had not humbled himself "even as a little child." This was a subject he loved to dwell upon, and to illustrate.
His eye was the finest I ever saw: brilliant, but not roving, clear and intent, yet susceptible; it flashed with genius, or melted in tenderness. It could also be terrible. Cunning and falsehood quailed under it, but it was never busy with them. It pierced them, and turned away. Nor was the mouth less expressive; the lips flexible and quivering with feeling. I can yet recall it when, on one occasion, dwelling upon the exquisite beauty of the parable of the Prodigal, he began to repeat a part of it; but at the words, " When he was yet a great way off", his father saw him," could go no further; his voice faltered, and he was in tears.
I can never forget the evening when Mr. Linnell took me to Blake's house, nor the quiet hours passed with him in the examination of antique gems, choice pictures, and Italian prints of the sixteenth century. Those who may have read some strange passages in his Catalogue, written in irritation, and probably in haste, will be surprised to hear, that in conversation he was anything but sectarian or exclusive, finding sources of delight throughout the whole range of art; while, as a critic, he was judicious and discriminating. No man more admired Albert Dürer; yet, after looking over a number of his designs, he would become a little angry with some of the draperies, as not governed by the forms of the limbs, nor assisting to express their action; contrasting them in this respect with the draped antique, in which it was hard to tell whether he was more delighted with the general design, or with the exquisite finish and the depth of the chiselling; in works of the highest class, no mere adjuncts, but the last development of the design itself.
He united freedom of judgment with reverence for all that is great. He did not look out for the works of the purest ages, but for the purest works of every age and country—Athens or Rhodes, Tuscany or Britain; but no authority or popular consent could influence him against his deliberate judgment. Thus he thought with Fuseli and Flaxman that the Elgin Theseus, however full of antique savour, could not, as ideal form, rank with the very finest
