Chapter VII: Part 7

A life of Blake is included in the work entitled _Lives, English and
Foreign_. Dr Johnson wrote a short life of him, and in 1852 appeared
Hepworth Dixon's fuller narrative, _Robert Blake, Admiral and General
at Sea_. Much new matter for the biography of Blake will be found in
the _Letters and Papers Relating to the First Dutch War_, edited by
S.R. Gardiner for the Navy Records Society (1898-1899.)

BLAKE, WILLIAM (1757-1827), English poet and painter, was born in London, on the 28th of November 1757. His father, James Blake, kept a hosier's shop in Broad Street, Golden Square; and from the scanty education which the young artist received, it may be judged that the circumstances of the family were not very prosperous. For the facts of William Blake's early life the world is indebted to a little book, called _A Father's Memoirs on a Child_, written by Dr Malkin in 1806. Here we learn that young Blake quickly developed a taste for design, which his father appears to have had sufficient intelligence to recognize and assist by every means in his power. At the age of ten the boy was sent to a drawing school kept by Henry Pars in the Strand, and at the same time he was already cultivating his own taste by constant attendance at the different art sale rooms, where he was known as the "little connoisseur." Here he began to collect prints after Michelangelo, and Raphael, Durer and Heemskerk, while at the school in the Strand he had the opportunity of drawing from the antique. After four years of this preliminary instruction Blake entered upon another branch of art study. In 1777 he was apprenticed to James Basire, an engraver of repute, and with him he remained seven years. His apprenticeship had an important bearing on Blake's artistic education, and marks the department of art in which he was made technically proficient. In 1778, at the end of his apprenticeship, he proceeded to the school of the Royal Academy, where he continued his early study from the antique, and had for the first time an opportunity of drawing from the living model.

This is in brief all that is known of Blake's artistic education. That he ever, at the academy or elsewhere, systematically studied painting we do not know; but that he had already begun the practice of water colour for himself is ascertained. So far, however, the course of his training in art schools, and under Basire, was calculated to render him proficient only as a draughtsman and an engraver. He had learned how to draw, and he had mastered besides the practical difficulties of engraving, and with these qualifications he entered upon his career. In 1780 he exhibited a picture in the Royal Academy Exhibition, conjectured to have been executed in water colours, and he continued to contribute to the annual exhibitions up to the year 1808. In 1782 he married Catherine Boucher, the daughter of a market-gardener at Battersea, with whom he lived always on affectionate terms, and the young couple after their marriage established themselves in Green Street, Leicester Fields. Blake had already become acquainted with some of the rising artists of his time, amongst them Stothard, Flaxman and Fuseli, and he now began to see something of literary society. At the house of the Rev. Henry Mathew, in Rathbone Place, he used to recite and sometimes to sing poems of his own composition, and it was through the influence of this gentleman, combined with that of Flaxman, that Blake's first volume of poetry was printed and published in 1783. From this time forward the artist came before the world in a double capacity. By education as well as native talent, he was pledged to the life of a painter, and these _Poetical Sketches_, though they are often no more than the utterances of a boy, are no less decisive in marking Blake as a future poet.

For a while the two gifts are exhibited in association. To the close of his life Blake continued to print and publish, after a manner of his own, the inventions of his verse illustrated by original designs, but there is a certain period in his career when the union of the two gifts is peculiarly close, and when their service to one another is unquestionable. In 1784 Blake, moving from Green Street, set up in company with a fellow-pupil, Parker, as print-seller and engraver next to his father's house in Broad Street, Golden Square, but in 1787 this partnership was severed, and he established an independent business in Poland Street. It was from this house, and in 1787, that the _Songs of Innocence_ were published, a work that must always be remarkable for beauty both of verse and of design, as well as for the singular method by which the two were combined and expressed by the artist. Blake became in fact his own printer and publisher. He engraved upon copper, by a process devised by himself, both the text of his poems and the surrounding decorative design, and to the pages printed from the copper plates an appropriate colouring was afterwards added by hand. The poetic genius already discernible in the first volume of _Poetical Sketches_ is here more decisively expressed, and some of the songs in this volume deserve to take rank with the best things of their kind in our literature. In an age of enfeebled poetic style, when Wordsworth, with more weighty apparatus, had as yet scarcely begun his reform of English versification, Blake, unaided by any contemporary influence, produced a work of fresh and living beauty; and if the _Songs of Innocence_ established Blake's claim to the title of poet, the setting in which they were given to the world proved that he was also something more. For the full development of his artistic powers we have to wait till a later date, but here at least he exhibits a just and original understanding of the sources of decorative beauty. Each page of these poems is a study of design, full of invention, and often wrought with the utmost delicacy of workmanship. The artist retained to the end this feeling for decorative effect; but as time went on, he considerably enlarged the imaginative scope of his work, and decoration then became the condition rather than the aim of his labour.

Notwithstanding the distinct and precious qualities of this volume, it attracted but slight attention, a fact perhaps not very wonderful, when the system of publication is taken into account. Blake, however, proceeded with other work of the same kind. The same year he published _The Book of Thel_, more decidedly mystic in its poetry, but scarcely less beautiful as a piece of illumination; _The Marriage of Heaven and Hell_ followed in 1790; and in 1793 there are added _The Gates of Paradise_, _The Vision of the Daughters of Albion_, and some other "Prophetic Books." It becomes abundantly clear on reaching this point in his career that Blake's utterances cannot be judged by ordinary rules. The _Songs of Experience_, put forth in 1794 as a companion to the earlier _Songs of Innocence_, are for the most part intelligible and coherent, but in these intervening works of prophecy, as they were called by the author, we get the first public expression of that phase of his character and of his genius upon which a charge of insanity has been founded. The question whether Blake was or was not mad seems likely to remain in dispute, but there can be no doubt whatever that he was at different periods of his life under the influence of illusions for which there are no outward facts to account, and that much of what he wrote is so far wanting in the quality of sanity as to be without a logical coherence. On the other hand, it is equally clear that no madness imputed to Blake could equal that which would be involved in the rejection of his work on this ground. The greatness of Blake's mind is even better established than its frailty, and in considering the work that he has left we must remember that it is by the sublimity of his genius, and not by any mental defect, that he is most clearly distinguished from his fellows. With the publication of the _Songs of Experience_ Blake's poetic career, so far at least as ordinary readers are concerned, may be said to close. A writer of prophecy he continued for many years, but the works by which he is best known in poetry are those earlier and simpler efforts, supplemented by a few pieces taken from various sources, some of which were of later production. But although Blake the poet ceases in a general sense at this date, Blake the artist is only just entering upon his career. In the _Songs of Innocence_ and _Experience_, and even in some of the earlier _Books of Prophecy_, the two gifts worked together in perfect balance and harmony; but at this point the supremacy of the artistic faculty asserts itself, and for the remainder of his life Blake was pre-eminently a designer and engraver. The labour of poetical composition continues, but the product passes beyond the range of general comprehension; while, with apparent inconsistency, the work of the artist gains steadily in strength and coherence, and never to the last loses its hold upon the understanding. It may almost be said without exaggeration that his earliest poetic work, _The Songs of Innocence_, and nearly his latest effort in design, the illustrations to _The Book of Job_, take rank among the sanest and most admirable products of his genius. Nor is the fact, astonishing enough at first sight, quite beyond a possible explanation. As Blake advanced in his poetic career, he was gradually hindered and finally overpowered by a tendency that was most serviceable to him in design. His inclination to substitute a symbol for a conception, to make an image do duty for an idea, became an insuperable obstacle to literary success. He endeavoured constantly to treat the intellectual material of verse as if it could be moulded into sensuous form, with the inevitable result that as the ideas to be expressed advanced in complexity and depth of meaning, his poetic gifts became gradually more inadequate to the task of interpretation. The earlier poems dealing with simpler themes, and put forward at a time when the bent of the artist's mind was not strictly determined, do not suffer from this difficulty; the symbolism then only enriches an idea of no intellectual intricacy; but when Blake began to concern himself with profounder problems the want of a more logical understanding of language made itself strikingly apparent. If his ways of thought and modes of workmanship had not been developed with an intensity almost morbid, he would probably have been able to distinguish and keep separate the double functions of art and literature. As it is, however, he remains as an extreme illustration of the ascendancy of the artistic faculty. For this tendency to translate ideas into image, and to find for every thought, however simple or sublime, a precise and sensuous form, is of the essence of pure artistic invention. If this be accepted as the dominant bent of Blake's genius, it is not so wonderful that his work in art should have strengthened in proportion as his poetic powers waned; but whether the explanation satisfies all the requirements of the case or not, the fact remains, and cannot be overlooked by any student of Blake's career.

In 1796 Blake was actively employed in the work of illustration. Edwards, a bookseller of New Bond Street, projected a new edition of Young's _Night Thoughts_, and Blake was chosen to illustrate the work. It was to have been issued in parts, but for some reason not very clear the enterprise failed, and only a first part, including forty-three designs, was given to the world. These designs were engraved by Blake himself, and they are interesting not only for their own merit but for the peculiar system by which the illustration has been associated with the text. It was afterwards discovered that the artist had executed original designs in water-colour for the whole series, and these drawings, 537 in number, form one of the most interesting records of Blake's genius. Gilchrist, the painter's biographer, in commenting upon the engraved plates, regrets the absence of colour, "the use of which Blake so well understood, to relieve his simple design and give it significance," and an examination of the original water-colour drawings fully supports the justice of his criticism. Soon after the publication of this work Blake was introduced by Flaxman to the poet Hayley, and in the year 1801 he accepted the suggestion of the latter, that he should take up his residence at Felpham in Sussex. The mild and amiable poet had planned to write a life of Cowper, and for the illustration of this and other works he sought Blake's help and companionship. The residence at Felpham continued for three years, partly pleasant and partly irksome to Blake, but apparently not very profitable to the progress of his art. One of the annoyances of his stay was a malicious prosecution for treason set on foot by a common soldier whom Blake had summarily ejected from his garden; but a more serious drawback was the increasing irritation which the painter seems to have experienced from association with Hayley. In 1804 Blake returned to London, to take up his residence in South Moulton Street, and as the fruit of his residence in Felpham, he published, in the manner already described, the prophetic books called the _Jerusalem_, _The Emanation of the Giant Albion_, and _Milton_. The first of these is a very notable performance in regard to artistic invention. Many of the designs stand out from the text in complete independence, and are now and then of the very finest quality.

In the years 1804-1805 Blake executed a series of designs in illustration of Robert Blair's _The Grave_, of much beauty and grandeur, though showing stronger traces of imitation of Italian art than any earlier production. These designs were purchased from the artist by an adventurous and unscrupulous publisher, Cromek, for the paltry sum of L21, and afterwards published in a series of engravings by Schiavonetti. Despite the ill treatment Blake received in the matter, and the other evils, including a quarrel with his friend Stothard as to priority of invention of a design illustrating the Canterbury Pilgrims, which his association with Cromek involved, the book gained for him a larger amount of popularity than he at any other time secured. Stothard's picture of the Canterbury Pilgrims was exhibited in 1807, and in 1809 Blake, in emulation of his rival's success, having himself painted in water-colour a picture of the same subject, opened an exhibition, and drew up a _Descriptive Catalogue_, curious and interesting, and containing a very valuable criticism of Chaucer.

The remainder of the artist's life is not outwardly eventful. In 1813 he formed, through the introduction of George Cumberland of Bristol, a valuable friendship with John Linnell and other rising water-colour painters. Amongst the group Blake seems to have found special sympathy in the society of John Varley, who, himself addicted to astrology, encouraged Blake to cultivate his gift of inspired vision; and it is probably to this influence that we are indebted for several curious drawings made from visions, especially the celebrated "ghost of a flea" and the very humorous portrait of the builder of the Pyramids. In 1821 Blake removed to Fountain Court, in the Strand, where he died on the 12th of August 1827. The chief work of these last years was the splendid series of engraved designs in illustration of the book of Job. Here we find the highest imaginative qualities of Blake's art united to the technical means of expression which he best understood. Both the invention and the engraving are in all ways remarkable, and the series may fairly be cited in support of a very high estimate of his genius. None of his works is without the trace of that peculiar artistic instinct and power which seizes the pictorial element of ideas, simple or sublime, and translates them into the appropriate language of sense; but here the double faculty finds the happiest exercise. The grandeur of the theme is duly reflected in the simple and sublime images of the artist's design, and in the presence of these plates we are made to feel the power of the artist over the expressional resources of human form, as well as his sympathy with the imaginative significance of his subject.

A life of Blake, with selections from his works, by Alexander
Gilchrist, was published in 1863 (new edition by W.G. Robertson,
1906); in 1868 A.C. Swinburne published a critical essay on his
genius, remarkable for a full examination of the Prophetic Books, and
in 1874 William Michael Rossetti published a memoir prefixed to an
edition of the poems. In 1893 appeared _The Works of William Blake_,
edited by E.J. Ellis and W.B. Yeats. But for a long time all the
editors paid too little attention to a correct following of Blake's
own MSS. The text of the poems was finally edited with exemplary care
and thoroughness by John Sampson in his edition of the _Poetical
Works_ (1905), which has rescued Blake from the "improvements" of
previous editors. See also _The Letters of_ ~~ _William Blake,
together with a Life by Frederick Tatham_; edited by A.G.B. Russell
(1906); and Basil de Selincourt, _William Blake_ (1909).
(J. C. C.)

BLAKELOCK, RALPH ALBERT (1847- ), American painter, was born in New York, on the 15th of October, 1847. He graduated at the College of the City of New York in 1867. In art he was self-taught and markedly original. Until ill-health necessitated the abandonment of his profession, he was a most prolific worker, his subjects including pictures of North American Indian life, and landscapes--notably such canvases as "The Indian Fisherman"; "Ta-wo-koka: or Circle Dance"; "Silvery Moonlight"; "A Waterfall by Moonlight"; "Solitude"; and "Moonlight on Long Island Sound."

BLAKENEY, WILLIAM BLAKENEY, BARON (1672-1761), British soldier, was born at Mount Blakeney in Limerick in 1672. Destined by his father for politics, he soon showed a decided preference for a military career, and at the age of eighteen headed the tenants in defending the Blakeney estate against the Rapparees. As a volunteer he went to the war in Flanders, and at the siege of Venlo in 1702 won his commission. He served as a subaltern throughout Marlborough's campaigns, and is said to have been the first to drill troops by signal of drum or colour. For many years after the peace of Utrecht he served unnoticed, and was sixty-five years of age before he became a colonel. This neglect, which was said to be due to the hostility of Lord Verney, ceased when the duke of Richmond was appointed colonel of Blakeney's regiment, and thenceforward his advance was rapid. Brigadier-general in the Cartagena expedition of 1741, and major-general a little later, he distinguished himself by his gallant and successful defence of Stirling Castle against the Highlanders in 1745. Two years later George II. made him lieutenant-general and lieutenant-governor of Minorca. The governor of that island never set foot in it, and Blakeney was left in command for ten years.

In 1756 the Seven Years' War was preluded by a swift descent of the French on Minorca. Fifteen thousand troops under marshal the duc de Richelieu, escorted by a strong squadron under the marquis de la Gallisonniere, landed on the island on the 18th of April, and at once began the siege of Fort St Philip, where Blakeney commanded at most some 5000 soldiers and workmen. The defence, in spite of crumbling walls and rotted gun platforms, had already lasted a month when a British fleet under vice-admiral the Hon. John Byng appeared. La Gallisonniere and Byng fought, on the 20th of May, an indecisive battle, after which the relieving squadron sailed away and Blakeney was left to his fate. A second expedition subsequently appeared off Minorca, but it was then too late, for after a heroic resistance of seventy-one days the old general had been compelled to surrender the fort to Richelieu (April 18-June 28, 1756). Only the ruined fortifications were the prize of the victors. Blakeney and his little garrison were transported to Gibraltar with absolute liberty to serve again. Byng was tried and executed; Blakeney, on his return to England, found himself the hero of the nation. Rewards came freely to the veteran. He was made colonel of the Enniskillen regiment of infantry, knight of the Bath, and Baron Blakeney of Mount Blakeney in the Irish peerage. A little later Van Most's statue of him was erected in Dublin, and his popularity continued unabated for the short remainder of his life. He died on the 20th of September 1761, and was buried in Westminster Abbey.

See _Memoirs of General William Blakeney_ (1757).

BLAKESLEY, JOSEPH WILLIAMS (1808-1885), English divine, was born in London on the 6th of March 1808, and was educated at St Paul's school, London, and at Corpus Christi and Trinity Colleges, Cambridge. In 1831 he was elected a fellow, and in 1839 a tutor of Trinity. In 1833 he took holy orders, and from 1845 to 1872 held the college living of Ware, Hertfordshire. Over the signature "Hertfordshire Incumbent" he contributed a large number of letters to _The Times_ on the leading social and political subjects of the day, and he also wrote many reviews of books for that paper. In 1863 he was made a canon of Canterbury, and in 1872 dean of Lincoln. Dean Blakesley was the author of the first English _Life of Aristotle_ (1839), an edition of Herodotus (1852-1854) in the _Bibliotheca Classica_, and _Four Months in Algeria_ (1859). He died on the 18th of April 1885.

BLAMIRE, SUSANNA (1747-1794), English poet, daughter of a Cumberland yeoman, was born at Cardew Hall, near Dalston, in January 1747. Her mother died while she was a child, and she was brought up by her aunt, a Mrs Simpson of Thackwood, who sent her niece to the village school at Raughton Head. Susanna Blamire's earliest poem is "Written in a Churchyard, on seeing a number of cattle grazing," in imitation of Gray. She lived an uneventful life among the farmers of the neighbourhood, and her gaiety and good-humour made her a favourite in rustic society. In 1767 her elder sister Sarah married Colonel Graham of Gartmore. "An Epistle to her friends at Gartmore" gives a playful description of the monotonous simplicity of her life. To her Perthshire visits her songs in the Scottish vernacular are no doubt partly due. Her chief friend was Catharine Gilpin of Scaleby Castle. The two ladies spent the winters together in Carlisle, and wrote poems in common. Susanna Blamire died in Carlisle on the 5th of April 1794. The poems which were not collected during her lifetime, were first published in 1842 by Henry Lonsdale as _The Poetical Works of Miss Susanna Blamire, "the Muse of Cumberland,"_ with a memoir by Mr Patrick Maxwell. Some of her songs rank among the very best of north-country lyrics. "And ye shall walk in silk attire" and "What ails this heart o' mine," are well known, and were included in Johnson's _Scots' Musical Museum_.

BLANC, (JEAN JOSEPH CHARLES) LOUIS (1811-1882), French politician and historian, was born on the 29th of October 1811 at Madrid, where his father held the post of inspector-general of finance under Joseph Bonaparte. Failing to receive aid from Pozzo di Borgo, his mother's uncle, Louis Blanc studied law in Paris, living in poverty, and became a contributor to various journals. In the _Revue du progres_, which he founded, he published in 1839 his study on _L'Organisation du travail_. The principles laid down in this famous essay form the key to Louis Blanc's whole political career. He attributes all the evils that afflict society to the pressure of competition, whereby the weaker are driven to the wall. He demanded the equalization of wages, and the merging of personal interests in the common good--"_a chacun selon ses besoins, de chacun selon ses facultes_." This was to be effected by the establishment of "social workshops," a sort of combined co-operative society and trade-union, where the workmen in each trade were to unite their efforts for their common benefit. In 1841 he published his _Histoire de dix ans 1830-1840_, an attack upon the monarchy of July. It ran through four editions in four years.

In 1847 he published the two first volumes of his _Histoire de la Revolution Francaise_. Its publication was interrupted by the revolution of 1848, when Louis Blanc became a member of the provisional government. It was on his motion that, on the 25th of February, the government undertook "to guarantee the existence of the workmen by work"; and though his demand for the establishment of a ministry of labour was refused--as beyond the competence of a provisional government--he was appointed to preside over the government labour commission (_Commission du Gouvernement pour les travailleurs_) established at the Luxembourg to inquire into and report on the labour question. On the 10th of May he renewed, in the National Assembly, his proposal for a ministry of labour, but the temper of the majority was hostile to socialism, and the proposal was again rejected. His responsibility for the disastrous experiment of the national workshops he himself denied in his _Appel aux honnetes gens_ (Paris, 1849), written in London after his flight; but by the insurgent mob of the 15th of May and by the victorious Moderates alike he was regarded as responsible. Between the _sansculottes_, who tried to force him to place himself at their head, and the national guards, who maltreated him, he was nearly done to death. Rescued with difficulty, he escaped with a false passport to Belgium, and thence to London; in his absence he was condemned by the special tribunal established at Bourges, _in contumaciam_, to deportation. Against trial and sentence he alike protested, developing his protest in a series of articles in the _Nouveau Monde_, a review published in Paris under his direction. These he afterwards collected and published as _Pages de l'histoire de la revolution de 1848_ (Brussels, 1850).

During his stay in England he made use of the unique collection of materials for the revolutionary period preserved at the British Museum to complete his _Histoire de la Revolution Francaise_ 12 vols. (1847-1862). In 1858 he published a reply to Lord Normanby's _A Year of Revolution in Paris_ (1858), which he developed later into his _Histoire de la revolution de 1848_ (2 vols., 1870-1880). As far back as 1839 Louis Blanc had vehemently opposed the idea of a Napoleonic restoration, predicting that it would be "despotism without glory," "the Empire without the Emperor." He therefore remained in exile till the fall of the Second Empire in September 1870, after which he returned to Paris and served as a private in the national guard. On the 8th of February 1871 he was elected a member of the National Assembly, in which he maintained that the republic was "the necessary form of national sovereignty," and voted for the continuation of the war; yet, though a member of the extreme Left, he was too clear-minded to sympathize with the Commune, and exerted his influence in vain on the side of moderation. In 1878 he advocated the abolition of the presidency and the senate. In January 1879 he introduced into the chamber a proposal for the amnesty of the Communists, which was carried. This was his last important act. His declining years were darkened by ill-health and by the death, in 1876, of his wife (Christina Groh), an Englishwoman whom he had married in 1865. He died at Cannes on the 6th of December 1882, and on the 12th of December received a state funeral in the cemetery of Pere-Lachaise.

Louis Blanc possessed a picturesque and vivid style, and considerable power of research; but the fervour with which he expressed his convictions, while placing him in the first rank of orators, tended to turn his historical writings into political pamphlets. His political and social ideas have had a great influence on the development of socialism in France. His _Discours politiques_ (1847-1881) was published in 1882. His most important works, besides those already mentioned, are _Lettres sur l'Angleterre_ (1866-1867), _Dix annees de l'histoire de l'Angleterre_ (1879-1881), and _Questions d'aujourd'hui et de demain_ (1873-1884).

See L. Fiaux, _Louis Blanc_ (1883).

BLANC, MONT, the culminating point (15,782 ft.) of the mountain range of the same name, which forms part of the Pennine Alps, and is divided unequally between France, Italy and Switzerland. The actual highest summit is wholly French and is the loftiest peak in the Alps, and in Europe also, if certain peaks in the Caucasus be excluded. At Geneva the mountain was in former days named the Montagne Maudite, but the present name seems to have been always used locally. On the north is the valley of Chamonix, and on the east the head of the valley of Aosta. Among the great glaciers which stream from the peak the most noteworthy are those of Bossons and Taconnaz (northern slope) and of Brenva and Miage (southern slope). The first ascent was made in 1786 by two Chamonix men, Jacques Balmat and Dr Michel Paccard, and the second in 1787 by Balmat with two local men. Later in 1787 H.B. de Saussure made the third ascent, memorable in many respects, and was followed a week later by Colonel Beaufoy, the first Englishman to gain the top. These ascents were all made from Chamonix, which is still the usual starting point, though routes have been forced up the peak from nearly every side, those on the Italian side being much steeper than that from Chamonix. The ascent from Chamonix is now frequently made in summer (rarely in winter also), but, owing to the great height of the mountain, the view is unsatisfactory, though very extensive (Lyons is visible). There is an inn at the Grands Mulets (9909 ft.). In 1890 M. Vallot built an observatory and shelter hut (14,312 ft.) on the Bosses du Dromadaire (north-west ridge of the mountain), and in 1893 T.J.C. Janssen constructed an observatory just below the very summit.

See C. Durier, _Le Mont Blanc_ (4th ed., Paris, 1897); C.E. Mathews,
_The Annals of Mont Blanc_ (London, 1898); P. Gussfeldt, _Der
Montblanc_, (Berlin, 1894, also a French translation, Geneva, 1899);
L. Kurz, _Climbers' Guide to the Chain of Mont Blanc_, section vi.
(London, 1892); L. Kurz and X. Imfeld, _Carte de la chaine du Mont
Blanc_ (1896, new edition 1905). (W. A. B. C.)

BLANCHARD, SAMUEL LAMAN (1804-1845), British author and journalist, the son of a painter and glazier, was born at Great Yarmouth on the 15th of May 1804. He was educated at St Olave's school, Southwark, and then became clerk to a proctor in Doctors' Commons. At an early age he developed literary tastes, contributing dramatic sketches to a paper called _Drama_. For a short time he was a member of a travelling dramatic company, but subsequently became a proof-reader in London, and wrote for the _Monthly Magazine_. In 1827 he was made secretary of the Zoological Society, a post which he held for three years. In 1828 he published _Lyric Offerings_, dedicated to Charles Lamb. He had a very varied journalistic experience, editing in succession the _Monthly Magazine_, the _True Sun_, the _Constitutional_, the _Court Journal_, the _Courier_, and _George Cruikshank's Omnibus_; and from 1841 till his death he was connected with the _Examiner_. In 1846 Bulwer-Lytton collected a number of his prose-essays under the title _Sketches of Life_, to which a memoir of the author was prefixed. His verse was collected in 1876 by Blanchard Jerrold. Over-work broke down his strength, and, unnerved by the death of his wife, he died by his own hand on the 15th of February 1845.

His eldest son, SIDNEY LAMAN BLANCHARD, who was the author of _Yesterday and To-day in India_, died in 1883.

BLANCHE, JACQUES EMILE (1861- ), French painter, was born in Paris. He enjoyed an excellent cosmopolitan education, and was brought up at Passy in a house once belonging to the princesse de Lamballe, which still retained the atmosphere of 18th-century elegance and refinement and influenced his taste and work. Although he received some instruction in painting from Gervex, he may be regarded as self-taught. He acquired a great reputation as a portrait painter; his art is derived from French and English sources, refined, sometimes super-elegant, but full of character. Among his chief works are his portraits of his father, of Pierre Louys, the Thaulow family, Aubrey Beardsley and Yvette Guilbert.

BLANCHE OF CASTILE (1188-1252), wife of Louis VIII. of France, third daughter of Alphonso VIII., king of Castile, and of Eleanor of England, daughter of Henry II., was born at Valencia. In consequence of a treaty between Philip Augustus and John of England, she was betrothed to the former's son, Louis, and was brought to France, in the spring of 1200, by John's mother Eleanor. On the 22nd of May 1200 the treaty was finally signed, John ceding with his niece the fiefs of Issoudun and Gracay, together with those that Andre de Chavigny, lord of Chateauroux, held in Berry, of the English crown. The marriage was celebrated the next day, at Portmort on the right bank of the Seine, in John's domains, as those of Philip lay under an interdict.

Blanche first displayed her great qualities in 1216, when Louis, who on the death of John claimed the English crown in her right, invaded England, only to find a united nation against him. Philip Augustus refused to help his son, and Blanche was his sole support. The queen established herself at Calais and organized two fleets, one of which was commanded by Eustace the Monk, and an army under Robert of Courtenay; but all her resolution and energy were in vain. Although it would seem that her masterful temper exercised a sensible influence upon her husband's gentler character, her role during his reign (1223-1226) is not well known. Upon his death he left Blanche regent and guardian of his children. Of her twelve or thirteen children, six had died, and Louis, the heir--afterwards the sainted Louis IX.,--was but twelve years old. The situation was critical, for the hard-won domains of the house of Capet seemed likely to fall to pieces during a minority. Blanche had to bear the whole burden of affairs alone, to break up a league of the barons (1226), and to repel the attack of the king of England (1230). But her energy and firmness overcame all dangers. There was an end to the calumnies circulated against her, based on the poetical homage rendered her by Theobald IV., count of Champagne, and the prolonged stay in Paris of the papal legate, Romano Bonaventura, cardinal of Sant' Angelo. The nobles were awed by her warlike preparations or won over by adroit diplomacy, and their league was broken up. St Louis owed his realm to his mother, but he himself always remained somewhat under the spell of her imperious personality. After he came of age (1236) her influence upon him may still be traced. In 1248 she again became regent, during Louis IX.'s absence on the crusade, a project which she had strongly opposed. In the disasters which followed she maintained peace, while draining the land of men and money to aid her son in the East. At last her strength failed her. She fell ill at Melun in November 1252, and was taken to Paris, but lived only a few days. She was buried at Maubuisson.

Besides the works of Joinville and William of Nangis, see Elie Berger,
"Histoire de Blanche de Castille, reine de France," in _Bibliotheque
des ecoles francaises d'Athenes et de Rome_, vol. lxx. (Paris, 1895);
Le Nain de Tillemont, "Vie de Saint Louis," ed. by J. de Gaulle for
the _Societe de l'histoire de France_ (6 vols., 1847-1851); and Paulin
Paris, "Nouvelles recherches sur les moeurs de la reine Blanche et de
Thibaud," in _Cabinet historique_ (1858).

BLANCH FEE, or BLANCH HOLDING (from Fr. _blanc_, white), an ancient tenure in Scottish land law, the duty payable being in silver or white money in contradistinction to gold. The phrase was afterwards applied to any holding of which the quit-rent was merely nominal, such as a penny, a peppercorn, &c.

BLANDFORD, or BLANDFORD FORUM, a market town, and municipal borough in the northern parliamentary division of Dorsetshire, England, on the Stour, 19 m. N.W. of Bournemouth by the Somerset & Dorset railway. Pop. (1901) 3649. The town is ancient, but was almost wholly destroyed by fire in the 18th century. The church of St Peter and St Paul, a classical building, was built in 1732. There are a grammar-school (founded in 1521 at Milton Abbas, transferred to Blandford in 1775), a Blue Coat school (1729), and other educational charities. Remnants of a mansion of the 14th century, Damory Court, are seen in a farmhouse, and an adjoining Perpendicular chapel is used as a barn. There are numerous early earthworks on the chalk hills in the neighbourhood. The fine modern mansion of Bryanston, in the park adjoining the town, is the seat of Lord Portman. The municipal borough is under a mayor, 4 aldermen and 12 councillors. Area, 145 acres.

BLANDRATA, or BIANDRATA, GIORGIO (c. 1515-1588), Italian physician and polemic, who came of the De Blandrate family, powerful from the early part of the 13th century, was born at Saluzzo, the youngest son of Bernardino Blandrata. He graduated in arts and medicine at Montpellier in 1533, and specialized in the functional and nervous disorders of women. In 1544 he made his first acquaintance with Transylvania; in 1553 he was with Alciati in the Grisons; in 1557 he spent a year at Geneva, in constant intercourse with Calvin, who distrusted him. He attended the English wife (Jane Stafford) of Count Celso Massimiliano Martinengo, preacher of the Italian church at Geneva, and fostered anti-trinitarian opinions in that church. In 1558 he found it expedient to remove to Poland, where he became a leader of the heretical party at the synods of Pinczow (1558) and Ksionzh (1560 and 1562). His point was the suppression of extremes of opinion, on the basis of a confession literally drawn from Scripture. He obtained the position of court physician to the queen dowager, the Milanese Bona Sforza. She had been instrumental in the burning (1539) of Catharine Weygel, at the age of eighty, for anti-trinitarian opinions; but the writings of Ochino had altered her views, which were now anti-Catholic. In 1563 Blandrata transferred his services to the Transylvanian court, where the daughters of his patroness were married to ruling princes. He revisited Poland (1576) in the train of Stephen Bathory, whose tolerance permitted the propagation of heresies; and when (1579) Christopher Bathory introduced the Jesuits into Transylvania, Blandrata found means of conciliating them. Throughout his career he was accompanied by his two brothers, Ludovico and Alphonso, the former being canon of Saluzzo. In Transylvania, Blandrata co-operated with Francis David (d. 1579), the anti-trinitarian bishop, but in 1578 two circumstances broke the connexion. Blandrata was charged with "Italian vice"; David renounced the worship of Christ. To influence David, Blandrata sent for Faustus Socinus from Basel. Socinus was David's guest, but the discussion between them led to no result. At the instance of Blandrata, David was tried and condemned to prison at Deva (in which he died) on the charge of innovation. Having amassed a fortune, Blandrata returned to the communion of Rome. His end is obscure. According to the Jesuit, Jacob Wujek, he was strangled by a nephew (Giorgio, son of Alphonso) in May 1588. He published a few polemical writings, some in conjunction with David.

See Malacarne, _Commentario delle Opere e delle Vicende di G.
Blandrata_ (Padova, 1814); Wallace, _Anti-trinitarian Biography_, vol.
ii. (1850). (A. Go.*)

BLANE, SIR GILBERT (1740-1834), Scottish physician, was born at Blanefield, Ayrshire, on the 29th of August 1749. He was educated at Edinburgh university, and shortly after his removal to London became private physician to Lord Rodney, whom he accompanied to the West Indies in 1779. He did much to improve the health of the fleet by attention to the diet of the sailors and by enforcing due sanitary precautions, and it was largely through him that in 1795 the use of lime-juice was made obligatory throughout the navy as a preventive of scurvy. Enjoying a number of court and hospital appointments he built up a good practice for himself in London, and the government constantly consulted him on questions of public hygiene. He was made a baronet in 1812 in reward for the services he rendered in connexion with the return of the Walcheren expedition. He died in London on the 26th of June 1834. Among his works were _Observations on the Diseases of Seamen_ (1795) and _Elements of Medical Logic_ (1819).

BLANFORD, WILLIAM THOMAS (1832-1905), English geologist and naturalist, was born in London on the 7th of October 1832. He was educated in private schools in Brighton and Paris, and with a view to the adoption of a mercantile career spent two years in a business house at Civita Vecchia. On returning to England in 1851 he was induced to enter the newly established Royal School of Mines, which his younger brother Henry F. Blanford (1834-1893), afterwards head of the Indian Meteorological Department, had already joined; he then spent a year in the mining school at Freiburg, and towards the close of 1854 both he and his brother obtained posts on the Geological Survey of India. In that service he remained for twenty-seven years, retiring in 1882. He was engaged in various parts of India, in the Raniganj coalfield, in Bombay, and in the coalfield near Talchir, where boulders considered to have been ice-borne were found in the Talchir strata--a remarkable discovery confirmed by subsequent observations of other geologists in equivalent strata elsewhere. His attention was given not only to geology but to zoology, and especially to the land-mollusca and to the vertebrates. In 1866 he was attached to the Abyssinian expedition, accompanying the army to Magdala and back; and in 1871-1872 he was appointed a member of the Persian Boundary Commission. The best use was made of the exceptional opportunities of studying the natural history of those countries. For his many contributions to geological science Dr Blanford was in 1883 awarded the Wollaston medal by the Geological Society of London; and for his labours on the zoology and geology of British India he received in 1901 a royal medal from the Royal Society. He had been elected F.R.S. in 1874, and was chosen president of the Geological Society in 1888. He was created C.I.E. in 1904. He died in London on the 23rd of June 1905. His principal publications were: _Observations on the Geology and Zoology of Abyssinia_ (1870), and _Manual of the Geology of India_, with H.B. Medlicott (1879).

Biography, with bibliography and portrait, in _Geological Magazine_,
January 1905.

BLANK (from the Fr. _blanc_, white), a word used in various senses based on that of "left white," i.e. requiring something to be filled in; thus a "blank cheque" is one which requires the amount to be inserted, an insurance policy in blank, where the name of the beneficiary is lacking, "blank verse" (_q.v_.) verse without rhyme, "blank cartridge" that contains only powder and no ball or shot. The word is also used, as a substantive, for a ticket in a lottery or sweepstake which does not carry a number or the name of a horse running or for an unstamped metal disc in coining.

BLANKENBERGHE, a seaside watering-place on the North Sea in the province of West Flanders, Belgium, 12 m. N.E. of Ostend, and about 9 m. N.W. of Bruges, with which it is connected by railway. It is more bracing than Ostend, and has a fine parade over a mile in length. During the season, which extends from June to September, it receives a large number of visitors, probably over 60,000 altogether, from Germany as well as from Belgium. There is a small fishing port as well as a considerable fishing-fleet. Two miles north of this place along the dunes is Zeebrugge, the point at which the new ship-canal from Bruges enters the North Sea. Fixed population (1904) 5925.

BLANKENBURG. (1) A town and health resort of Germany, in the duchy of Brunswick, at the N. foot of the Harz Mountains, 12 m. by rail S.W. from Halberstadt. Pop. (1901) 10,173. It has been in large part rebuilt since a fire in 1836, and possesses a castle, with various collections, a museum of antiquities, an old town hall and churches. There are pine-needle baths and a hospital for nervous diseases. Gardening is a speciality. In the vicinity is a cliff or ridge of rock called Teufelsmauer (Devil's wall), from which fine views are obtained across the plain and into the deep gorges of the Harz Mountains.

(2) Another BLANKENBURG, also a health-resort, is situated in Schwarzburg-Rudolstadt, Thuringia, at the confluence of the rivers Rinne and Schwarza, and at the entrance of the Schwarzatal. Its environs are charming, and to the north of it, on an eminence, rise the fine ruins of the castle of Greifenstein, built by the German king Henry I., and from 1275 to 1583 the seat of a cadet branch of the counts of Schwarzburg.

BLANKETEERS, the nickname given to some 5000 operatives who on the 10th of March 1817 met in St Peter's Field, near Manchester, to march to London, each carrying blankets or rugs. Their object was to see the prince regent and lay their grievances before him. The Habeas Corpus Act was suspended, and the leaders were seized and imprisoned. The bulk of the demonstration yielded at once. The few stragglers who persisted in the march were intercepted by troops, and treated with considerable severity. Eventually the spokesmen had an interview with the ministers, and some reforms were the result.

BLANK VERSE, the unrhymed measure of iambic decasyllable in five beats which is usually adopted in English epic and dramatic poetry. The epithet is due to the absence of the rhyme which the ear expects at the end of successive lines. The decasyllabic line occurs for the first time in a Provencal poem of the 10th century, but in the earliest instances preserved it is already constructed with such regularity as to suggest that it was no new invention. It was certainly being used almost simultaneously in the north of France. Chaucer employed it in his _Compleynte to Pitie_ about 1370. In all the literatures of western Europe it became generally used, but always with rhyme. In the beginning of the 16th century, however, certain Italian poets made the experiment of writing decasyllabics without rhyme. The tragedy of _Sophonisba_ (1515) of G.G. Trissino (1478-1550) was the earliest work completed in this form; it was followed in 1525 by the didactic poem _Le Api_ (The Bees), of Giovanni Rucellai (1475-1525), who announced his intention of writing _"Con verso Etrusco dalle rime sciolto,"_ in consequence of which expression this kind of metre was called _versi sciolti_ or blank verse. In a very short time this form was largely adopted in Italian dramatic poetry, and the comedies of Ariosto, the _Aminta_ of Tasso and the _Pastor Fido_ of Guarini are composed in it. The iambic blank verse of Italy was, however, mainly hendecasyllabic, not decasyllabic, and under French influences the habit of rhyme soon returned.

Before the close of Trissino's life, however, his invention had been introduced into another literature, where it was destined to enjoy a longer and more glorious existence. Towards the close of the reign of Henry VIII., Henry Howard, earl of Surrey, translated two books of the _Aeneid_ into English rhymeless verse, "drawing" them "into a strange metre." Surrey's blank verse is stiff and timid, permitting itself no divergence from the exact iambic movement:--

"Who can express the slaughter of that night,
Or tell the number of the corpses slain,
Or can in tears bewail them worthily?
The ancient famous city falleth down,
That many years did hold such seignory."

Surrey soon found an imitator in Nicholas Grimoald, and in 1562 blank verse was first applied to English dramatic poetry in the _Gorboduc_ of Sackville and Norton. In 1576, in the _Steel Glass_ of Gascoigne, it was first used for satire, and by the year 1585 it had come into almost universal use for theatrical purposes. In Lyly's _The Woman in the Moon_ and Peek's _Arraignment of Paris_ (both of 1584) we find blank verse struggling with rhymed verse and successfully holding its own. The earliest play written entirely in blank verse is supposed to be _The Misfortunes of Arthur_ (1587) of Thomas Hughes. Marlowe now immediately followed, with the magnificent movement of his _Tamburlaine_ (1589), which was mocked by satirical critics as "the swelling bombast of bragging blank verse" (Nash) and "the spacious volubility of a drumming decasyllable" (Greene), but which introduced a great new music into English poetry, in such "mighty lines" as

"Still climbing after knowledge infinite,
And always moving as the restless spheres,"

or:--

"See where Christ's blood streams in the firmament!"

Except, however, when he is stirred by a particularly vivid emotion, the blank verse of Marlowe continues to be monotonous and uniform. It still depends too exclusively on a counting of syllables. But Shakespeare, after having returned to rhyme in his earliest dramas, particularly in _The Two Gentlemen of Verona_, adopted blank verse conclusively about the time that the career of Marlowe was closing, and he carried it to the greatest perfection in variety, suppleness and fulness. He released it from the excessive bondage that it had hitherto endured; as Robert Bridges has said, "Shakespeare, whose early verse may be described as syllabic, gradually came to write a verse dependent on stress." In comparison with that of his predecessors and successors, the blank verse of Shakespeare is essentially regular, and his prosody marks the admirable mean between the stiffness of his dramatic forerunners and the laxity of those who followed him. Most of Shakespeare's lines conform to the normal type of the decasyllable, and the rest are accounted for by familiar and rational rules of variation. The ease and fluidity of his prosody were abused by his successors, particularly by Beaumont and Fletcher, who employed the soft feminine ending to excess; in Massinger dramatic blank verse came too near to prose, and in Heywood and Shirley it was relaxed to the point of losing all nervous vigour.

The later dramatists gradually abandoned that rigorous difference which should always be preserved between the cadence of verse and prose, and the example of Ford, who endeavoured to revive the old severity of blank verse, was not followed. But just as the form was sinking into dramatic desuetude, it took new life in the direction of epic, and found its noblest proficient in the person of John Milton. The most intricate and therefore the most interesting blank verse which has been written is that of Milton in the great poems of his later life. He reduced the elisions, which had been frequent in the Elizabethan poets, to law; he admitted an extraordinary variety in the number of stresses; he deliberately inverted the rhythm in order to produce particular effects; and he multiplied at will the caesurae or breaks in a line. Such verses as

"Arraying with reflected purple and gold--
Shoots invisible virtue even to the deep--
Universal reproach, far worse to bear--
Me, me only, just object of his ire"--

are not mistaken in rhythm, nor to be scanned by forcing them to obey the conventional stress. They are instances, and _Paradise Lost_ is full of such, of Milton's exquisite art in ringing changes upon the metrical type of ten syllables, five stresses and a rising rhythm, so as to make the whole texture of the verse respond to his poetical thought. Writing many years later in _Paradise Regained_ and in _Samson Agonistes_, Milton retained his system of blank verse in its general characteristics, but he treated it with increased dryness and with a certain harshness of effect. It is certainly in his biblical drama that blank verse has been pushed to its most artificial and technical perfection, and it is there that Milton's theories are to be studied best; yet it must be confessed that learning excludes beauty in some of the very audacious irregularities which he here permits himself in _Samson Agonistes_. Such lines as

"Made arms ridiculous, useless the forgery--
My griefs not only pain me as a lingering disease--
Drunk with idolatry, drunk with wine--
Justly, yet despair not of his final pardon"--

are constructed with perfect comprehension of metrical law, yet they differ so much from the normal structure of blank verse that they need to be explained, and to imitate them would be perilous. A persistent weakness in the third foot has ever been the snare of English blank verse, and it is this element of monotony and dulness which Milton is ceaselessly endeavouring to obviate by his wonderful inversions, elisions and breaks.