tain a high respect for the talents of both persons concerned, I shall, in order to steer clear of giving umbrage to the supporters of either, leave the reader to draw his own conclusions, unbiassed by any insinuation whatever of mine.
An Engraver of the name of Cromek, a man who endeavoured to live by speculating upon the talents of others, purchased a series of drawings of Blake, illustrative of Blair's "Grave," which he had begun with a view of engraving and publishing. These were sold to Mr. Cromek for the insignificant sum of one guinea each, with the promise, and indeed under the express agreement, that Blake should be employed to engrave them; a task to which he looked forward with anxious delight. Instead of this negotiation being carried into effect, the drawings, to his great mortification, were put into the hands of Schiavonetti. During the time this artist was thus employed, Cromek had asked Blake what work he had in mind to execute next. The unsuspecting artist not only told him, but without the least reserve showed him the designs sketched out for a fresco picture; the subject Chaucer's "Pilgrimage to Canterbury;" with which Mr. Cromek appeared highly delighted. Shortly after this, Blake discovered that Stothard, a brother-artist to whom
