precise kind of handwriting begins; clearly indicating, I think, that Blake, after an interval of some years, took up the poem and finished it, perhaps in much more summary fashion than he at first intended.' The style of the later lines seems to the present writer to be much later than the style of the rest of the poem. It is more directly mystical, more of a direct appeal from the soul of Blake to the soul of the reader, and much more wholly dependent upon mystical knowledge for its interest. The rest of the poem has a certain interest and meaning as a story, but this latter page is as purely mystical as 'Europe,' or America,' or 'Jerusalem.' It is symbolical rather than allegorical.

Thel. Page 162.-This poem was engraved in 1789. The engraved copy begins The daughters of Mne Seraphim,' Blake having apparently thought of writing 'The daughters of Mnetha,' Mnetha being the name given in his system to the Mother of All. The letters Mne' are scratched out in the Bodleian copy, and it is possible that Blake got into the habit of reading 'Mne' as the,' and of so giving the rhythm the syllable it requires.

The Marriage of Heaven and Hell. Page 166.-This poem was engraved in 1790, and is a reply to the then recently translated 'Heaven and Hell' of Swedenborg.

Vision of the Daughters of Albion. Page 179.-This poem was engraved in 1793, and is not only one of the most beautiful, but one of the most subtle and difficult of the prophetic books.'

Ahania. Page 187.-This poem was engraved in 1795. There is a copy, the only one extant, of Blake's edition, in the library of Lord Houghton.

Vala. Page 196.-This poem was never engraved by Blake. It was probably written during the last three or four years of the century. The manuscript was given by Blake to his friend Linnell, the landscape painter, but at what date is not now known. The extracts given are from the second and eighth books respectively.

Jerusalem. Page 198.-It is dated 1804, but Blake was probably at work upon it both before and after that date.

Millon. Page 207.-Also dated 1804, but like 'Jerusalem,' probably not finished until a later date. It was originally intended to run to twelve books, but Blake finished it in two.

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On his Picture of the Canterbury Pilgrims. Page 213.From the Descriptive Catalogue which was published in 1809.

Identity. Page 224.--Froin a number of disordered notes in the MS. book which seem to have been intended as an introduction to his description of his picture of 'The Last Judgment.' Minute Knowledge. Page 225.- From Blake's sequel to his description of the picture of 'The Last Judgment."

The Nature of a Last Judgment.

same source with the last.

Fage 225.- From the

Why Men enter Heaven. Page 226.-From the same source with the last.

Learning without Imagination. Page 227. From the description, in the Descriptive Catalogue, of the picture of A Spirit vaulting from a Cloud.'

Form and Substance are One. Page 227. From the scraps of a Public Address' which are scattered about the MS. book, and which were printed by Gilchrist in a somewhat arbitrary order.

Good and Evil. Page 227.-From the sequel to his description of the picture of 'The Last Judgment.'

The Clearness of Vision. Page 228.-From the description, in the Descriptive Catalogue, of his picture 'The Bard from Gray.'

Outline in Art and Life. Page 228.-From the description, in the Descriptive Catalogue, of 'Ruth-a Drawing.'

The Tree of Good and Evil. Page 229.-From the sequel to his description of the picture of 'The Last Judgment.' It is omitted in Gilchrist perhaps because Blake himself drew a line through it. It was probably objected to by Blake simply because it added to the obscurity, without greatly helping the argument, of his 'sequel,' and not because he disapproved of it in itself, for it states more shortly and explicitly than elsewhere a fundamental conception of his.

There is no Natural Religion, I, II. Pages 229, 230.-From the engraved, but undated, and illustrated tractates.

THE END.