William Blake and his Illustrations to The Divine Comedy in Ideas of Good and Evil by William Butler Yeats.

“His praise of a severe art had been beyond price had his age rested a moment to listen” [via]

Consider also:

  1. “This letter may have been the expression of a moment’s enthusiasm, but was more probably rooted in one of those intuitions of coming technical power which every creator feels, and learns to rely upon; for all his greatest work was done, and the principles of his art were formulated, after this date. Except a word here and there, his writings hitherto had not dealt with the principles of art except remotely and by implication; but now he wrote much upon them, and not in obscure symbolic verse, but in emphatic prose, and explicit if not very poetical rhyme.”
  2. “The desire seems not other than the desire of the bird for its mate in the heart of the wood, and we listen to that joyous praise as though a bird watching its plumage in still water had begun to sing in its joy, or as if we heard hawk praising hawk in the middle air, and because it is the praise of one made for all noble life and not for pleasure only, it seems, though it is the praise of the body, that it is the noblest praise.”
  3. “The limitation of his view was from the very intensity of his vision; he was a too literal realist of imagination, as others are of nature; and because he believed that the figures seen by the mind’s eye, when exalted by inspiration, were ‘eternal existences,’ symbols of divine essences, he hated every grace of style that might obscure their lineaments.”
  4. “To wrap them about in reflected lights was to do this, and to dwell over-fondly upon any softness of hair or flesh was to dwell upon that which was least permanent and least characteristic, for ‘The great and golden rule of art, as of life, is this: that the more distinct, sharp and wiry the boundary-line, the more perfect the work of art; and the less keen and sharp, the greater is the evidence of weak imitation, plagiarism and bungling.'”
  5. “A symbol is indeed the only possible expression of some invisible essence, a transparent lamp about a spiritual flame; while allegory is one of many possible representations of an embodied thing, or familiar principle, and belongs to fancy and not to imagination: the one is a revelation, the other an amusement.”