decidedly a mistake.) Mr. Alfred Aspland possesses another version of the same subject, with a date which may perhaps be 1780.
6. 1785.—The Bard, from Gray. See p. 56, Vol. I., p. 152, Vol. II.
7. 1785.—Joseph's Brethren bowing before him. See p. 57, Vol. I.
The colour does not play any very considerable part in this and the two companion designs. The brothers form a grand, sheaf—like group.
8. 1785.—Joseph ordering Simeon to be bound. See preceding No., and p. 57. Vol. I.
A sketch water-colour of the same composition is also extant.
9. 1785.—Joseph making himself known to his Brethren.
Remarkable for its bursting spontaneity of emotion. The figure of Joseph is especially pure and impulsive. (Nos. 7, 8, and 9, appeared in the International Exhibition, 1862.)
10. 1790.—The Flight into Egypt. [Butts.] Tempera.
An Angel accompanies Joseph, and two others follow the Virgin and Child, while the air around them is peopled with Cherubs. Pretty enough: surface greatly cracked, but now partially renewed.
11. 1790.—Christ blessing the little Children. [Butts.] Tempera.
Fine. The surface cracked, but repaired.
12. 1790.—'Death and Hell teem with Life.'
Carefully finished: engraved in the 'Marriage of Heaven and Hell," leaf 10.
13. 1793.—A young man gazing remorsefully upon another bound upon a rock. [Linnell.]
Similar to the head—piece of the 'America,' but without the female figure, and a good deal larger. Darkish tone of colouring.
14. 1793.—Design for the Frontispiece to the 'Daughters of Albion.' [Linnell.]
Excellent in colour.
15. 1793 or 1795.—*Nebuchadnezzar. [Butts.] Colour—printed.
Crawling on all fours in his shaggy insanity. The tawny beard trails across the left hand: the nails are literally 'like birds' claws,' and the flesh tints very red and 'beefy.' The glaring eyes, too, have almost lost their human character. The background represents a thick jungle. A fine, wild conception. There are other impressions of this print, which (as in similar cases afterwards named) differ in the details and merit of the colour and handling. The figure is almost identical with the one engraved at p. 88, Vol. I.
16. 1794.—Design for the Title Page to the 'Europe.' [Linnell.]
Includes a human figure not given in the engraving. The serpent, as usual, is admirable.
