76. 1806.—*The Repose of the Holy Family; also named The Humility of our Saviour. Water-colour, only half-painted.
The fugitives are reposing under a palm-tree; their donkey drinks of the stream; an animal shaggy and bristly enough to illustrate the 'doctrine of correspondences,' as though he represented so much pabulum of thistles and stubble. The varied landscape background is the most pleasurable feature of this water-colour, a poor one in surface handling.
77. 1806.—Jaques and the wounded Stag, from 'As You Like It,'
This water-colour appears in a volume of Shakespeare, now belonging to Mr. Macmillan. It is far from being a good design; the lavish display of blood upon the stag being the most remarkable thing about it.
78. 1806.—Hamlet and the Ghost. In neutral tints.
In the same volume as the preceding. Hamlet kneels, as the Ghost casts a last unforgettable look at him before parting. One of the finest specimens of Blake's art. Given in Vol. I. chap. XXIV.
79. 1806 (?).—.
To turn and wind a fiery Pegasus.'
In the same volume as the two preceding. The design looks unaccountable enough, but must be the same as that of the fresco. No. 36. There is a rearing horse, a man floating and holding a lasso, a woman above on a cloud with a book, and a rising sun.
80. 1806.—Design for the Dedication to Blair's 'Grave.'
Executed with most special care and completeness in pale semi-neutral tints; a very beautiful work. The subject is the Deliverance of the Human Soul from Death, and the Ascension of the Just. Above are two angels, one sheathing the sword, another holding the unequally-poised balance and a sealed roll; a third descends with a key to unlock the fetters of the grave. A mother with her adolescent and infant family rises to the left; a man and children to the right, their chains riven, clasp their upraised hands in thankfulness for the great deliverance. Between the upper angels a space is left for the inscription. See p. 252, Vol. I.
81. 1806.—From Blair's 'Grave.' 'Prone on the lonely grave she drops.'
82. 1806.—'By the waters of Babylon we sat down and wept.'
83. 1806.—Satan watching the Endearments of Adam and Eve. [Butts.]
Essentially the same as No. 89 d, but with differences of detail; the figure of Satan, for instance, being turned towards the left, instead of the right; the flesh here is almost colourless, and the feeling on the whole more softly sensuous. The serpent, with a comb of fire, 'in his own volumes intervolved,' shuffles away from the feet of the First Parents, Very beautifully drawn, rich in form, and charming in impression.
