pictures when they are shut." Faces come and go, or change with startling vividness. The face that comes to a born painter does not instantly go; that of an angel is not capriciously transformed to something imp-like. He sees it in such wise that he retains it and can put it on his canvas. He has the clear-seeing, the sure-holding, gift which alone is creative. It is the same with the landscape-painter, the sculptor, the architect. Artistic ability is coördinate with the clearness and staying-power of the imagination.
More than one painter has declared that when a sitter was no longer before him, he could In the mind's eye. still lift his eyes, and see the sitter's image, and go on copying it as before. Often, too, the great painter copies better from some conception of his own brain than from actual nature. His mind's eye is surer than his body's. Blake wrote: "Men think they can copy Nature as correctly as I copy imagination. This they will find impossible." And again, "Why are copies of Nature incorrect, while copies of imagination are correct? This is manifest to all." Of course this statement is debatable; but for its philosophy, and for illustrations alike of the definite and the sublime, there is nothing later than Michelangelo to which one refers more profitably than to the life and letters, and to the titanic yet clear and beautiful designs, of the inspired "This bodiless creation." draughtsman William Blake. Did he see his visions? Undeniably. Did he call them into
